Empirical Labs Inc. designs and produces professional audio equipment and software. This includes equipment used in recording studios, live sound, broadcast studios and other audio production facilities etc. They also make software for digital signal processors. The EL8 Distressor was the first hardware product, designed in 1994, tested and revised for several years, and released in early 1996. The Distressor is the first in a series of audio products from ELI that will offer original features, ease of use, long product life, and a very musical audio path.
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Mike-E

The Mike-E™ from Empirical Labs is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor/limiter.

Mike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise.

The one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile ‘coloring’, and classic knee compression.

Mike-E's Seven circuts

1. Mic Preamplifier with super low noise & stepped gain switching.
2. Built in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments.
3. ‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers.
4. Phase Switch to invert the audio signal 180 degrees.
5. CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit.
6. Emphasis high-frequency emphasis system softens high frequency ‘pile-ups’ and further the creamy color of the Mike-E.
7. Mix Control allows the blending of the Compressed/Saturated signal with the clean unprocessed “Dry” signal.

Mic Preamp Section – This is a super low noise transformer input amplifier section, with the gain digitally controlled. This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also.
The signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches.
Counting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed.
A 48 Volt Phantom power is provided for condenser mikes.

Exclusive CompSat™ Section - This unique circuitry sets the Mike-E apart from all other mic preamplifiers. It has four sections:
1) Saturator – This is a multi-stage soft clipping circuit. At lower levels, a triode type saturation affects the signal. As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks. An LED named “BAD!” indicates harder un-musical clipping.
2) Compressor – This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor. In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry. Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack & release shape.
3) Emphasis - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram. The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.
4) Mix Control - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal. This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal. As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation).

Specs

  • Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz.
  • Signal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.
  • Distortion Ranges between .0006% and 15% depending on mode and settings.
  • Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally.
  • Input Impedance is 600 Ohms. Output impedance is less than 38 ohms.
  • Attack/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec.
  • Power Consumption – 15 Watts Max.

Derressor

The DerrEsser is a multi function dynamic filtering device, in an API 500 series module format. In its basic “DS” mode, the DerrEsser is an effective, level insensitive de-esser, which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source. By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner. However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry.

Besides Bypass, there are essentially four modes of the DerrEsser:

DS Mode – (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S’s (sibilants) that result from an overly bright singer or from EQ’ing to make a vocal sound aggressive and clear. In this mode, the dyamic action is “level insensitive”, as the detector circuitry compares the High Frequency content to the low frequency content, Overall signal level doesn’t matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel. Again, great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free, distortion free, and noise free performance. The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover.

HF LIMIT – (Bypass Button IN, HF LIM IN, all other buttons OUT). In this mode, the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold, then gain reduction occurs. It IS level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.The HF limiter is probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device

HIGHPASS – (Bypass Button IN, Listen IN, HP/LP OUT, HF LIM doesn’t matter). By using the “LISTEN” Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio. With the LISTEN button IN, and the HP/LP switch OUT, the user will be hearing the high frequencies that are being controlled with the dynamic/compression circuits. The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch is engaged, all bargraph LED’s should light as indication.

LOWPASS – (Bypass Button IN, Listen IN, HP/LP IN, HF LIM doesn’t matter). With the LISTEN button IN, and the HP/LP button IN, the user is now listening to the low frequencies, those not affected by the VCA and dynamic/compression circuits. This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob.

Specs

  • Freq. Response is 3 Hz to 120 kHz (-3dB points).
  • Dynamic Range - 115 dB from maximum output (.5%THD soft clipping) to minimum output. Transformerless noise floor typically – 93dBu.
  • Distortion Ranges between .0035% and .01% depending on mode and settings.
  • DC coupled Input and Outputs
  • High quality audio caps used internally.
  • Input Balanced, Output single ended but with balanced impedance.
  • Pin 2 hot
  • Input Impedance is 20k Ohm. Output impedance is less than 51 ohms.
  • D-S Dynamics Time Constants - Attack time is less than 1mS. Release .04 sec, fixed internally.
  • Power Consumption – 8 Watts max. 4 Watts Typical
Lil FrEQ

The Lil FrEQ is to EQ what the Distressor is to Compression!

The EQ Sections
High Pass
The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies. We call this particular filter a "colored" filter since it is very steep and has a special shape that prevents thinning out frequencies just above the "cutoff" frequency. The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly then the section is engaged. As with all the EQ sections in the Lil FrEQ, there is a dedicated bypass switch.
High and Low Shelving
These are very similar to your standard "Tone Controls", but extremely high performance, providing exceptionally smooth boost and cut on the "bass" and "treble" frequencies.
Parametric EQ Sections
There are four sections of fully parametric EQ... possibly the cleanest parametric EQ section ever produced - operating below .000% THD (Total Harmonic Distortion) at extremely high audio levels.
Dynamic EQ Section
The DS section combines filters with a compressor like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content. There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1dB, -4dB, -8dB, -12dB. The DS section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft knee High Frequency Limiter.

Features
Eight sections of processing
Two shelving equalizers
One special "colored" 3rd order HP (Low Cut) sections with eight selectable frequencies
Four fully parametric bands
One dynamic equalizer section
The Dynamic Section can be used for De-essing and high frequency softening
Built-in instrument preamp/DI box Just plug a guitar, bass, etc into the front panel, engage the instrument switch and you have a high performance DI box. Distortion is below .0009% on the instrument preamp with 112dB dynamic range. Frequency response extends down to 50Hz.
Three outputs, including a Class A transformer output to give you an isolated output with the wonderful soft saturation and beefy low end that you get from your favorite vintage gear.
Huge "Distressor" knobs with high resolution numbering for easy readability and repeatable settings. They also go to 10 1/2!
A "Bad" hard clip indicator light indicated when the user is within 1dB of hard clipping. It monitors every section of the EQ for internal clipping.
Calibrated output level allows speed in setting tape and live mix levels.
Discrete and integrated combination provides the best of speed/linearity with repeatability. Hand tested and selected components. All metal film and Roederstein resistors in the audio path - top quality components, most being high temperature, military spec parts.
Switchable 110/220-volt operation with an extra fuse provided inside the unit.
True EQ bypass via a hard wired switch that lets you know what it's really doing.
XLR and 1/4" phone ins and outs. XLR is fully balanced designed, pin 2 hot. Changeable by user to pin 3 hot.
No internal connectors - high reliability parts and military grade switches and relays. All contacts doubled up for maximum reliability
Three year limited warranty (Mercenary doubles to SIX)
Hand wired and calibrated in the USA

Specs
Frequency Response is 5Hz to 140 kHz on transformerless inputs and outputs.
Transformer output response is 10 Hz to 110 kHz
Dynamic Range: 120 dB from maximum output (.1% clipping) to minimum output. Greater than 110 dB signal to noise.
Distortion Ranges between .00056% and .005% depending on mode and settings. DS section has THD <.005%
DC coupled Input and Outputs and one transformer coupled Output
high quality audio caps used internally.
Dynamic Time Constants: Attack is approximately .5 mS, release is .04 sec, fixed internally

EL8 Distressor

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.

Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and "musical". The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity". The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own.

EL7 FATSO

Full Analog Tape Simulator & Optimizer with Knee Compressors

What is the Fatso? - - (Hmm, Not such an easy question!)
The EL7 FATSO is a modern digitally controlled analog device that offers many of the "musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two channel audio processor will musically integrate frequencies and transients and increase the apparant volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you want a fully controllable compressor, you will need the Empirical Labs Distressor!). Users can enhance & soften the sound of mediums such as modular digital multitracks (MDM's), HD recorders, Dat recorders, Ram Recorders etc. Mixdown engineers will have an option not to use bulky, expensive, (and often flaky) analog tape recorders to get the warmth and sweet high end they've come to rely on for so many decades. Owners of Adats, MDM's, RAM and modern hard disk recorders can finally put a stop to complaints about the "coldness" and "brittle edge" of their mixes and instruments with the "rounded" and "musically non linear elements" of vintage analog. Finally, audiophiles can bring back the warmth and cuddly sound of LP's and tapes to their CD players, and other digital reproduction mediums. Fatso's Four Types of Processing (Available on both channels)
1 Harmonic Generation and Soft Clipper (Distortion generation)
2 High Frequency Saturation - WARMTH!
3 Transformer & Tape Head Emulation
4 Classic Knee Compression - Empirical Labs Style!

Empirical Lab's official website