We live in strange times...Behringer 369

I am not.

 Klark, Midas, TC, Tannoy no longer exist anymore as we knew them, they have an office/address in the country of origin but no factory's, there might be some designers in those offices but they no longer create original products. Original products designed and made by these companies are no longer made apart from a few KT pieces that deal with AES 50; No classic Tannoy monitors or PA speakers; no more Midas Pro series consoles or support; there is no TC hardware anymore, just pedals and software. I was dealing with Midas UK a lot prior to the takeover, met with several tech guys for training, after that the techs came from Singapore.

Of course the counterpoint to this is under Bosch Midas had no development budget and all the engineers were hopeful Music group would change that, and it did.
Under MG Tannoy has more or less refocused on the High End Consumer market. They have even reissued most of the expensive classics. Of course the Fane OEM drivers they are using suck, but the cabinets are pretty.

Having Known people at EV/ Bosch MG, Tannoy and TC Turbo, etc. and we are talking C suite level, we have to balance our opinion of the current state of these brands with this simple fact, would we be better off had MG not purchased them, because in most cases the alternative is a world without them. I’ll admit I’m not sure what would be worse.

For me, these kind of insightful, where we were, where we are now conversations, really underscore the value of say, Audioscape and Stam: clones, yes, but made to very high part’s quality standards and authentic to original circuits, with some value added mods in some cases look.

Agreed!

As audio gear becomes more and more closed loop IT, we unfortunately have to realize long term manufacture support is a thing of the past, and yes it sucks, big time.

Sell the sizzle!

THis will of interest to you 

What does that mean?

Attack and release are low pass filters on the control path of a compressor that slow down the gain reduction and gain recovery. They always introduce an envelope on the signal. This can be subtle or very obvious. The better compressors speed up and slow down with the material they are fed. That’s why it’s crucial to get the compressor and music working in tandem to reduce audible modulation of the signal. For transients on auto releases or an opto, you want to get the compressor to where the release speeds up to release quickly and then use the slower release for the non transient body of the signal and there will often be a secondary slower attack too after the initial faster one like on an ssl bus or an optical compressor
en.wikipedia.org/wiki/Envelope_(music)

Diode bridge compressors are feedback compressors with a diode used as a variable resister at a small point in its transfer curve. They’re feedback because they’re not logarithmic like we hear so the compression is in response to events that have already occurred and the attack tends to start out slow and then speed up. So you get an attack that goes like:
1. — (inaction. Overshoot, what triggers the feedback compressor afterwards)
2. \ (gentle slope which is mostly unique to diode bridges, some fets, and some digital and vca compressors)
3. \ (steeper slope until it reaches the amount of gain reduction it’s supposed to or the signal changes)
which is unusual and can apply a weird artificial envelope to percussion that just makes it sound fake in many cases but can also help it punch through a wall of murk. If the circuit as a whole has more saturation or sounds mushy, you can get away with this unnatural envelope. If it doesn’t, the attack rate is poorly chosen or the capacitors and resistors being used poorly specced and considering the junky transistors, opamps, and transformers behringer has in their parts bins, the artificial envelope applied to the drums gets a lot more obvious and sounds like a dirty, distorted crappy transient, ie fake.

+1

That’s the word I use to describe cheap and cheerful clone compressors - flubby sounding.