Keyboards & Sound Modules. Orban 424A , High-End Bus Compressor, Vintage Rack, 1970s Mojo. Bob Orban is one of the unsung heroes of recording & broadcasting. His products are in use all over the world and have been for around forty years. Orban is not as well-known in the UK as in the USA, but plenty of UK studios in the 80s and 90s had an Orban De-esser, equaliser or – if they were lucky – a stereo compressor. The Orban Stereo Compressor is a substantial piece of kit in a deep, heavy 2U rack box. It’s a straightforward device, but not a particularly simple one to get your head around at first. The 424A combines compressor, gate and de-esser in one package. It has controls for both channels and a stereo link switch so can be used in dual mono or stereo modes. In operation, the 424A sounds like an opto compressor – smooth, slightly soft in operation and very pleasing to the ear. In fact it’s a VCA compressor, but one where the operation of the gain control mechanism is controlled by a number of variables. Of these, two need further explanation. Release Shape changes the shape of the compressor release curve to suit program material. It has two settings, Linear and Exponential. Linear is closest to a “standard” compressor release setting. According to the manual, “The Idle Gain control is a bit tricky”. It sets the gain reduction floor, when the gate is activated, somewhere between minimum and maximum gain reduction. This is an interesting approach – rather than set a gate amount the setting refers to the level below unity at which the gate “sits” when closed. This makes sense for a broadcast environment. When used on a drum break sample the action of the gate can be used to accentuate the start of the loop or used to make it more choppy. Tucked away on the back panel is an output level attenuator. This is outside of the VCA loop and is used to match the compressor to subsequent equipment. The de-esser sounds to me like a derivation of the 1U Orban Dynamic Sibilance Controller. It’s pretty brutal in operation but undeniably effective. It’s also useful for pulling back cymbals. Attack & release times are program-dependent but may be scaled faster or slower by means of the front panel controls. It’s hard to sum up the sound of a compressor. Some are transparent (Aphex, TK Audio), and some are vibe monsters (Urei 1176, LA3-A), but most are boring. The 424A manages to carve a niche for itself by sounding wonderful at all times, whatever it’s doing. The nearest to it sonically would be a stereo LA3-A. The 424A is my new secret weapon and, if I had to describe it in three words, I’d say Mojo, mojo, mojo! A few quotes from Gearslutz. “Takes a little getting used to setting up as the controls are a little non-standard, but most definitely delivers a very sweet sound smooth as butter”. I would actually go as far as saying this is the softest, most gentle, and most invisible VCA compressor I’ve ever encountered. I can’t get it to pump even if I want to. “BTW, I do like the warm, creamy vibe this thing imparts on occasion, and the de-esser is actually one of the few I actually don’t mind using”. Here’s one of my favorite sleeping underdogs – an orban 424a. 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. VCA compressor with mostly automatic settings. These settings can be varied, within limits, by front-panel settings. The unit can be used as a twin-channel device – each channel has its own set of controls – but it is clearly aimed at stereo operation. The stereo link switch links VCA action to maintain stereo image. Inputs & outputs are balanced on terminal strip. This unit has been fitted with the optional XLR connectors. Sidechain inputs and main ins & outs are on the terminal strip. The back panel also has output level attenuators for each channel. Operation, alignment and gain-staging are clearly explained in the excellent Orban manual (see link below). Sound on Sound Classic Compressors Review. Gearslutz Orban 424A Opinions. TapeOp Orban info / ad (from 2009). Standard (but deep) 2U device suitable for 19 racks. Switchable 220 / 110 Volt with a back-panel fuseholder and fixed mains cable and 3 Amp fused UK mains plug. In extremely good, used condition. Has some case scratches, and paint chips to the top edge, but the front panel and rack ears are particularly good for a vintage unit. One meter on each channel does not work but, as the unit is likely to be used in stereo, it is unlikely to be a major drawback. Spare meters are still available from Orban in the USA. This 424A has been refurbished with new power supply capacitors and the capacitors in the audio path have been replaced with. The switches & pots have been cleaned & lubricated and the unit is tested & working 100% apart from two bad meters. All vintage gear will have case scratches and marks. It may also have, or develop, noisy pots and switches. I make my descriptions as accurate as possible and note any existing defects. Collection from Brighton BN1 or I can send via insured courier. Please retain the packaging to reuse. Text & images may not be reproduced without prior permission. For other studio equipment. _gsrx_vers_811 GS 7.0.9 (811). The item “Orban 424A, High-End Bus Compressor, Vintage Rack, 1970s Mojo” is in sale since Wednesday, April 17, 2019. This item is in the category “Musical Instruments\Pro Audio Equipment\Signal Processors & Effects”. The seller is “bn1studio” and is located in Brighton. This item can be shipped worldwide.
- MPN: Does Not Apply
- Effect/Enhancement: Compression/Limiting
- Number of Channels: 2
- Model: Stereo Leveller / Limiter / Clipper 464A
- Inputs/Outputs: XLR In
- Form Factor: 2U rack-mountable
- Connectivity: XLR, Jack & Barrier strip
- Brand: Orban
- Type: Compressor