Petes Place Audio
Return Home

Pete's Place Audio
BAC 500
BAC 500 Overview Bac 500 Specifications Bac 500 Gallery Bac 500 Press Bac 500 Artists

Artist: Vocal- Rebekkah Adrielle
Compression with BAC-500


These are audio files sent to us by Robert George from Sound Temple Studios in Asheville NC.

http://www.soundtemplestudios.com

Robert recorded singer Paula Hanke with a CV-3 Mic.

The Bass Player, Michael Hynes recorded the bass at his studio (Nomatic Studios) and sent the files to Robert.

These files are showing the BAC on Vocal and Bass tracks and comparing them to other well known compressors.

Music FilesBass BAC500 Comp
Music FilesBass Brute Comp
Music FilesBass CL1B Comp
Music FilesBass No Comp
Music FilesVoc BAC 500 Comp-Loud
Music FilesVoc BAC 500 Comp-Medium
Music FilesVoc BAC 500 Comp-Soft
Music FilesVoc Brute Comp-Loud
Music FilesVoc Brute Comp-Medium
Music FilesVoc Brute Comp-Soft
Music FilesVoc CL1B-Loud
Music FilesVoc CL1B-Medium
Music FilesVoc CL1B-Soft
Music FilesVoc CV3 No Comp-Loud
Music FilesVoc CV3 No Comp-Medium
Music FilesVoc CV3 No Comp-Soft
 

Pete’s Place Audio is taking advantage of the 125th AES Convention in San Francisco to introduce another exciting product to its lineup, a 500 Series compressor module known as the BAC.

Designed by Brad Avenson of Austin, Texas-based Avenson Audio, the BAC—short for Brad Avenson Compressor—is a feedback-style FET compressor built around two discrete op amps and a custom wound output transformer.

“We are thrilled to finally be collaborating with Brad on this project,” says Pete’s Place Audio President Lisa Montessi. “His experience, knowledge and passion really shine through in everything he creates and the BAC certainly is no exception. It’s a fantastic compressor and it’s going to make a lot of 500 Series fans very happy.”

From the top down, the BAC’s faceplate features a large silver rotary input knob, smaller pots for attack, release and ratio, and a large output knob at the bottom. Additional features include a three-position sidechain contour switch, eight-LED gain reduction meter, and pushbuttons for distortion and bypass.

The module’s attack control runs from fast to quite fast, while the release control exhibits a fairly wide range, enabling the compressor to go from “pumping, breathing fast” up to approximately a second and a half. This allows sounds to “hang” a bit when using the device purely as a leveler or limiter.

The ratio control features five positions ranging from 2:1 to 20:1, with a sixth position marked as “∞!”. According to Avenson, “The infinity control has a little exclamation point next to it because, not only is it really flat, but it also puts you in that spot where you can do some over-compression and other interesting things. It changes where the threshold starts to compress as well, so it gives you different varieties of tonal characteristics to play with.”

The BAC’s sidechain toggle switch offers a choice of three possible settings: flat, high-pass filter (cut off around 70 to 100 Hz), and an option that somewhat exaggerates the high end while simultaneously cutting the low end. “The overall effect of this third setting is somewhat like a de-esser fed into the sidechain, but it’s a little wider than that and quite good for taming a variety of things that are overly bright,” Avenson notes.

With all of the controls essentially cranked between the input and output knobs, the BAC is capable of delivering nearly 50 dB of gain, which can be very helpful in compensating for serious gain reduction issues caused by greatly compressing dynamic range.

The bypass button found below the output knob is a true relay bypass, while the adjacent distortion button allows the user to achieve a true bench FET compression sound. “A lot of FET compressors use tricks to linearize the FET as a compression element and make it sound cleaner because if they’re used solely by themselves, they’re really pretty raunchy sounding,” says the designer. “So this switch allows you to play with how much of the frequency response and distortion characteristics of the FET you get. By engaging it, you’re getting a lot more second harmonic distortion and aggressive sounds because we’re taking away some of the linearizing elements. It’s basically a way to kick in a more aggressive sounding compressor without changing any of the other settings. You can dial in the amount of dirt you want.”

Avenson sums the BAC up by adding, “Although this product is largely designed to provide a bit of color and flavor—and not be too heavy handed—it really does possess that nice ‘bite’ that is characteristic of FET compressors and perfect for cranking down on things like drum room mics when you need it.”

Pete’s Place Audio is an umbrella organization founded to bring a wide variety of handcrafted, innovative, boutique recording and live audio products to market. Under the leadership of President Lisa Montessi and backed by the manufacturing expertise of A-Designs Audio, Pete’s Place collaborates with some of today’s most talented recording artists and engineers to help determine what products, regardless of how esoteric, they feel are missing in the studio and live performance environments.

Bac500 Recall Sheet

Price: $995.00 USD

 

FOR SHIPPING OUTSIDE THE UNITED STATES PLEASE CONTACT US FOR QUOTE.

Petes Place Audio
Contact Us

 

 

 

 

 

 

 

 

   
 

Pete's Place Audio

Home

Distributors

Contact Us

 

 

Products -

Pearlman LE

Bac 500

 



Filter SPL

Electrodyne 501 / 511

©2010 Pete's Place Audio  
Design and Hosting by WestWeb Services