search

Review

2006.08.01

The P38 stereo compressor  is the latest in a long line of  designs by Ted Fletcher that  officially started with the  Joemeek SC2 in 1993.  Following a number of variations on  the Joemeek theme, Ted Fletcher  released the very versatile, bright-red  P8 ‘Edward’ compressor. The P38  takes the best qualities of that unit,  and refines operation still further.

Fletcher’s designs are well-known  for their use of optical compression  techniques, and the P38 follows that  trend. But rather than opting to use  somewhat lethargic photo-electric  cells, Fletcher employs LEDs in his  circuits, which achieve much faster  compression characteristics.

The P38 has a shallow case and is  rather lighter than rival units. The rack  handles are gone; it is now fronted  with tall Focusrite Red-style knobs,  and a pair of wonderfully large and  clear, illuminated VU meters. Around  the back are the usual IEC mains input  socket and voltage selector. Analogue  audio connections are provided on  both XLR and jack sockets, all at  +4dB professional level. The input  sockets lack latching clips, but work  well enough, while the provision of  separate jacks rather than combo  sockets is a bonus.

On the front is a lightly detented,  large input gain knob with a clearly  marked scale, so recalling settings is  easy. A +14dB boost switch is also  provided to increase compression to  consumer audio levels. The metering  arrangement is slightly unconventional,  displaying either the left and right  output levels (after the output gain  knob) or, by pressing the Meter button,  the mono level before the output knob  on the left meter, with gain reduction  displayed on the right. If you’re using  the P38 in a fixed stereo mode,  compression will always be similar on  both sides of the buss, so this  arrangement does make sense, but it  is a little disconcerting at first.

Take it to the limit

Although the P38 is an optical compressor offering conventional Attack, Release, Threshold and Ratio controls, it also offers four distinct operational modes, each with different compression characteristics. Ratio is easy to set, going from 1.2:1 right up past 20:1 to Limit, with 3:1 at 12 o’clock. Turning the Threshold knob clockwise actually lowers the threshold, which is perhaps counterintuitive. Modes are simply numbered 1–4 on the front panel, but the manual provides more of a clue. Theserespectively comprise VCA, 1176, LA-2A and Green Box settings. Working backwards, the latter is, of course, a copy of the Joemeek SC2. (The Joemeek and earlier TFPro models had a Slope knob with several fixed settings rather than the variable Ratio provided here, so this is more flexible.) This mode offers powerful compression without dulling or colouring the tone.

The LA-2A mode lacks some of  the hugeness and expression of the  much more expensive valve-based  original, but emulates its attack and  release characteristics fairly well.  Unlike the P38, however, the LA-2A  had no variable attack and release  (and only two different ratios), but  offered a two-stage release, with  short peaks releasing quickly and  longer peaks releasing slowly. The  P38 copies this characteristic very  well, with the advantage of having  variable times (the secondary release  can go even longer than the indicated  three seconds).

Squeeze me

The 1176 is a much more aggressivesounding compressor, and although the P38 lacks some of its essential components, a bit of clever engineering enables it to emulate much of the excitement and juiciness of an 1176. VCA mode operates as a straightforward compressor. Based on more neutral modern designs, attack is fast and linear, and release is a simple linear capacitor discharge. It works well on some program material, and any pumping can be reduced with the Transient Release function. This unique feature is not fully explained in the somewhat scatty manual, but it seems to smooth out the reaction to short peaks. This can have the effect of reducing the excitement of the music, but enables more compression to take place before things get out of hand.

Another notable feature is Soft Clip  mode, which applies a further limiter to  the signal to smoothly clip very loud  transients. This helps to maximise  mastering levels, and an  accompanying LED lights up when the threshold is crossed.

Unusually, the P38 utilises sumand-  difference signals, whereby the  stereo signals are processed  separately as centre and sides rather  than as left and right. This ensures the  stability of the centre image, and also  introduces another interesting feature  – the Width knob. This is a variable  control that goes from mono at one  extreme, through detented stereo  (which leaves the image unchanged)  right up to 150% extra wide. If you’re  trying to resuscitate a lifeless mix that  has too much content into the middle,  some extra interest can be added by  widening it a touch. Conversely, it is  also possible to tame phasey stereo effects to some extent using this feature. Helpfully, a Balance knob is also provided for centring uneven stereo signals.

What’s in a name?

The P8 was given the name ‘Edward’ apparently in reference to the 11thcentury English king, Edward the Confessor. This particular monarch oversaw a relatively peaceful period, and Edward the Compressor’s successor appears to be equally adept at keeping control. It’s an improvement on the more fiddly P8, and offers a wide range of high-quality compression that is a joy to experiment with.