Spectra 1964 Model 611

Spectra 1964 Model 611

Analogue peak limiter

CAP2: 0 £1,339.00
£1,115.83 ex VAT
Call or Email for availability.

Hand-built, mic/line/instrument level analogue peak limiter designed to remove transient peaks before your preamp helping you reproduce the source more accurately.

Spectra 1964 Model 611

Analogue peak limiter

CAP2: 0 £1,339.00
£1,115.83 ex VAT
Call or Email for availability.
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Hand-built, mic/line/instrument level analogue peak limiter designed to remove transient peaks before your preamp helping you reproduce the source more accurately.

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KMR Audio - Spectra 1964 Model 611
KMR Audio - Spectra 1964 Model 611

Hand-built, mic/line/instrument level analogue peak limiter designed to remove transient peaks before your preamp helping you reproduce the source more accurately.

The Spectra 1964 Model 611 Complimiter is a hand-built, mic/line/instrument level analogue peak limiter designed to remove transient peaks before your preamp helping you reproduce the source more accurately.

The Spectra 1964 Model 611 Complimiter can also be used to control overall dynamics. Use it on vocals, bass, kick drum or crushing a room mic. Its diminutive size makes it ideal to use in the studio, control room or on the road.

Controls include a 32 steps detented input pad which sets the amount of limiting and compression. The Slope control delivers a wide range of compression ratios ranging to 1.1:1 all the way to 100:1 or flat slope. In the minimum slope setting, the Model 611 works as a linear amplification providing an additional 20dB of gain for input above the built-in threshold (-46dBu). When a signal reaches that threshold, a LED indicator lights up, flashing for transient sources and constant light for program material.

It uses a discrete design with a custom transformer I/O that accepts balanced line and microphone level inputs as well as a high-impedance ¼” input. Furthermore,

Spectra 1964 Model 611 Main Features:

  • Dramatic improvement in dynamic range and harmonic content
  • Reduced distortion due to the elimination of transient overload
  • Instantaneous control of dynamic range (compression function)
  • Unequaled Guitar/instrument sonic performance with either passive or active instruments pickups
  • No requirement for de-essing or high frequency equalization
  • Direct termination of microphones (phantom power required)

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