ADL

ADL was founded in 1986 by Anthony DeMaria. ADL, a boutique industry that designs and manufactures vacuum tube equipment for the music industry. ADL is truly unique for its owner’s commitment to his clients. Anthony has been handcrafting and rigorously testing his own products for the past 29 years, resulting in a stellar reputation world wide. If you’re considering upgrading to recording quality sound and craving personal one-on-one attention, look no further than ADL.

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ADL 1000

Vacuum tube mono compressor/limiter

A vacuum tube mono compressor/limiter similar in design to an LA-2A. The hand matched optical attenuator and custom in/out audio transformers is the heart and sole of this unique handcrafted compressor. Its “warm,” “punchy” and if driven hard enough “crunchiness” is a true reminder of that magical rock-and-roll sound.

The 1000 has many practical applications for recording studios, tracking, mixing, stereo buss, vocals and instruments, live concert sound reinforcement as well as for film and broadcast work. All audio transformers are designed according to original specifications which has allowed us to not only serve our needs, but also service and repair original 660 and 670 Fairchilds.

  • Frequency Response: 15Hz-30kHz ± 0.5 dB.
  • Distortion: @+4 + 0.75% @+20 + 0.18%.
  • Noise: -80 dB.
  • Input/Output Impedance: 600 Ohm Balanced XLR.
  • Gain Reduction: 40 dB.
  • Gain: 40 dB ± 1 dB.
  • Attack Time: 10 uSec.
  • Release Time: ~0.07s. for 50% Release, 0.5s – 4s for 100%.
  • Panel Size: Standard Two Rack Space (2U).
  • Panel Controls: Gain Reduction/Output +4 Switch Gain, Peak Reduction.
  • Power: 117 (Standard), 240 (Available on Request).
  • 100-120-V FUSE: 1/2-A S/B 5x20mm.
  • 220-240-V FUSE: 1/4-A S/B 5x20mm.
  • Tube Complement: (2) 12AX7A, (1) 12BH7A, (1) 6AQ5A.
  • Shipping Weight: 12 lb.
  • Balanced input and output
  • XLR input and output jacks
  • Stereo linking capability
  • Wide dynamic range (15Hz – 30K)
  • Heavy-Duty Chassis
  • Works with unbalanced systems
  • Easy to operate
  • Handbuilt in the USA
  • Great for analog & digital recording as well as live sound
  • All tube design (no IC’s or chips)
  • Opto attenuators for “invisible” compression
  • High quality transformer

ADL 1500

Vacuum tube stereo compressor/limiter

A vacuum tube stereo compressor/limiter similar in design to an LA-2A. Similar in build to the 1000 allowing engineers and producers more flexibility for stereo use.

The 1500 has many practical applications for recording studios, tracking, mixing, stereo buss, vocals and instruments, live concert sound reinforcement as well as for film and broadcast work.

  • Frequency Response: 15Hz-30kHz ± 0.5 dB.
  • Distortion: @+4 + 0.75% @+20 + 0.18%.
  • Noise: -80 dB.
  • Input/Output Impedance: 600 Ohm Balanced XLR.
  • Gain Reduction: 40 dB.
  • Gain: 40 dB ± 1 dB.
  • Attack Time: 10 uSec.
  • Release Time: ~0.07s. for 50% Release, 0.5s – 4s for 100%.
  • Panel Size: Standard Two Rack Space (2U).
  • Panel Controls: Gain Reduction/Output +4 Switch, Stereo Link, Gain, Peak Reduction & Power.
  • Power: 117 (Standard), 240 (Available on Request).
  • 100-120-V FUSE: 1/2-A S/B 5x20mm.
  • 220-240-V FUSE: 1/4-A S/B 5x20mm.
  • Tube Complement: (2) 12AX7A, (1) 12BH7A, (1) 6AQ5A.
  • Shipping Weight: 12 lb.
  • All tube design (no IC’s or chips)
  • Balanced input and output
  • XLR input and output jacks
  • Stereo link switch on front panel
  • Wide dynamic range (15Hz – 30K)
  • Heavy-Duty Chassis
  • Works with unbalanced systems
  • 2 independent channels
  • Handbuilt in the USA
  • Great for analog & digital recording as well as live sound
  • Stereo adjust pots on front panel
  • Opto attenuators for “invisible” compression
  • High quality transformer, balanced inputs and outputs

ADL 1700

Liquid Mu Peak Limiter

The ADL 1700 Liquid Mu Peak Limiter is often referred to as the little brother of the Fairchild 670. The 1700 employs an all discrete tube design modeled after and a cross between the vintage UA 175-B and 177 limiter except we enhanced some features for added flexibility. Unlike an opto limiter, the 1700 uniquely reduces the Mu or gain as the input signal is increased.

The 1700 has many practical applications for recording studios, tracking, mixing, stereo buss, vocals and instruments, live concert sound reinforcement as well as for film and broadcast work.

  • Frequency Response: 10Hz-30kHz
  • Clip: +28 dbu
  • Distortion: < 0.1% – 10-GR =< 0.5%
  • Noise: -75 dB
  • Input/Output Impedance: 600 Ohm
  • Dimensions: Standard 19” 2-U depth 11-1/8
  • Power Consumption: 28 Watts
  • Power: 117 (Standard), 240 (Available on Request)
  • 120V FUSE: 2-Amp Slow Blow 5x20mm
  • 220V FUSE: 1-Amp Slow Blow 5x20mm
  • Tube Complement: (2) 12AX7A, (3) 12BH7A/12AU7A, (1) 6BC8, (4) 6CL5
  • Shipping Weight: 13 lb. or 15 Kg
  • All discrete tube design
  • Transformer in/out
  • 90Hz high pass filter switch
  • Bypass switch
  • Heavy-duty chassis
  • Handcrafted in the USA

ADL OPUS-3

Discrete optical attenuator compressor/limiter

The ADL Opus-3 broadcast Discrete Optical attenuator compressor/limiter is a close cousin to our world famous ADL vacuum tube1000 and 1500. The Opus-3 is an all discrete solid-state design commonly referred to as a fixed gain circuit. The heart of the Opus-3 is our custom hand matched optical attenuator, same one found in our world renowned 1000 mono and 1500 stereo limiters.

Hand matching components allows us to create a unique soft knee compression characteristic representative only of the ADL brand. Although time consuming, choosing Identical parts results in consistency and reliability for all our valued clients, engineers and producers.

The Opus-3 has many practical application allowing engineers and record producers flexibility in the studio. From tracking, mixing, vocals, instruments, stereo buss, and live concert sound reinforcement to film and broadcast work.

Gain

Continuously variable, controls the amount of level at the output XLR located on the rear panel. The amount of level is visible on the meter when gain is rotated clockwise and GR/Ouput switch is set to output. Meter level will change according to the amount of gain and compression. Increasing compression typically requires an increase of gain–typically referred to as make-up gain.

Peak Reduction

Continuously variable, controls the amount of compression. Peak reduction starts when the input level cross the compression threshold. Compression is a function of the amount of both gain and peak reduction. An increase in gain will allow for more sensitivity to the peak reduction circuit prompting more compression.

GR/Output Switch

Two position switch linked to the VU meter indicating either the amount of level or the amount of peak reduction. Set to output, the GR/Output Switch meter will indicate overall level from rear XLR input to output. Zero VU is equal to +4 dBm on the output XLR. Meter motion will appear to bounce toward the right side according to varying levels or gain.
Set to GR the meter will start at zero VU and move toward the left side as peak reductions is increased. The amount of meter deflection is commensurate with peak levels. When a desired amount of compression is reached, switching back to output may indicate a lower level and may require more level or make-up gain.
Finding a happy medium or “sweet spot” between the amount of gain and peak reduction is subjective and according to your personal musical taste.

Limit/Compression Switch

Changes the sonic characteristics of the compressed signal by changing the ratio. For instance, gentle compression may have a ratio of 3:1 (a 3 dB increase at the input will result in a 1 dB increase at the output) while heavy limiting may have a higher ratio of 8:1. The VU meter typically indicates two types of levels, RMS (Root Mean Squared) and peak. RMS is a combination or average of all the wave forms displayed on the VU meter and a function of the loudness of the music. Reducing RMS or overall loudness is best served by the compression setting.
Peaks or transient spikes are not average and can quickly distort great performances. Sharp transients may cause clipping and are capable of appearing or riding above RMS and are best served by the limit setting.

Normal/Pad Switch

Attenuates the level or gain from the input XLR to the input audio transformer by 14 dB to prevent distortion or clipping. For instance, disconnecting from a line level source (typically operating at +4 dB) and connecting to a hotter guitar amplifier would typically require this pad.

Stereo/Mono Switch

Two Opus-3 limiters can either be configured as a stereo pair or two independent mono channels. Stereo linking, connect both units via a 1/4” guitar cable (12” long) and switch in the up position. For mono use, simply return both switches to the mono setting. 1/4” stereo link jacks are located on the rear panel. For accurate stereo operation, please make sure both gain and peak reductions knobs are positioned the same on both channels.

  • Frequency Response: 20Hz-20kHz +/- 1dB.
  • Clip: +28 dBu
  • Distortion: THD-N: 0.19% @ +4dB.
  • Noise, unweighted: -85 dBu.
  • Input/Output Impedance: 600 ohm.
  • Dimensions: 3.5″ x 7.75″ x 10.5″.
  • Power Consumption: 6 Watts.
  • Release Time: approximately 1 to 2 second.
  • Fuse: 120-V-220-V 0.100-Amp Slow Blow 5x20mm.
  • Maximum Gain Reduction: 20 dB.
  • Attack Time: approximately 1.5 ms.
  • Shipping Weight: 4 lbs (boxed 7 lbs)
  • All discrete solid-state design
  • Transformer in/out
  • Gain pad switch
  • Limit Compression switch
  • Stereo link switch
  • Bypass switch
  • Heavy-duty chassis
  • Handcrafted in the USA

ADL 670

Mastering stereo tube limiter

Introducing the ADL 670, the perfect copy of the original Fairchild 670. After years of testing and research, Anthony DeMaria Labs has matched part for part the specs and sound of the original unit. Every detail has been scrutinized to perfection…no corners were cut.

Yes… believe it or not, ADL has painstakingly sourced all the parts of this puzzle to offer a very limited run on these uncompromised, untouchable sonic giants!!! Many in the past have attempted to reproduce the sound of the classic Fairchild 670 but no one until now has taken it to the level ADL has with the ADL 670 compressor. With it’s beautiful “military strength” chassis, stand alone PSU, 20 vacuum tubes and 14 transformers…it doesn’t get fatter than this.

  • Unit Gain Clockwise: +4 input / 600-ohm Load, 15.1dB @ +4 Output .
  • Noise: -82.6 with 400-Hz Filter = 89.2.
  • THD: 0.028% @ 100-Hz : 0.189%.
  • IMD: 0.100% .
  • Frequency Response: 50Hz..20k (± 1db).
  • Input/Output Impedance: 600-ohm.
  • Output Level: +4 or +8 VU (+27 dBm clipping point).
  • Gain: 7 db (no limiting).
  • Attack Time (adjustable):
    – 0.2 milliseconds in Pos-1, 2 and 6
    – 0.4 milliseconds in Pos-3 and 5.
    – 0.8 milliseconds in in Pos-4.
  • Transformers: 14 total – same as original.
  • Tube Complement: 8-6386, 2- 12AX7A, 2- 12BH7A, 4- 6973.
  • Dimensions: 6-U high, 13-1/2″depth.
  • Weight: 45 lb.
  • All tube design (no IC’s or chips)
  • All parts are designed based on the original Fairchild 670
  • All capacitors and resisters match values as per original
  • XLR input / output
  • Handbuilt in the USA
  • Heavy-Duty Chassis
  • Handles located on front and sides
  • Great for analog & digital recording, tracking, mastering, as well as live
  • Vents on front and sides for maximum air flow
  • Two 24 volt fans (voltage set at 20 volts for silent operation)
  • One Bottom PCB (Hinged Standoff)
  • One Top PCB (Hinged Standoff)
  • Two Back PCB’s