TEST: GAP Comp-3A

It is always something special when the Swedish company Golden Age Project launches a product on the market. With the Golden Age Project Comp-3A, the Scandinavians once again strike into the notch cultivated by them, as there are a pleasantly "kautzige" presentation, the ignoring of usual norms in terms of rack or desktop standards and above all, the detail-accurate copy of a legendary Neve original.

The Golden Age Project Comp-3A takes as its model the circa 1970 transistor-based Neve LA-3A, which was further developed from the LA-2A optocompressor, replacing the LA-2A's tube circuitry with Class A transistors. We are once again curious to see if GAP, with the comparatively very reasonable price of just under 549,- Euro, once again manages to capture a touch of the incomparable Neve flair.

Design

A look at the exterior of the Golden Age Project Comp-3A leaves no doubt, with the half 19 inch format of 9.5 and 2 height units, you also get visually a thoroughbred Neve clone, which however shines compared to the original with a significantly expanded equipment. Once again, the manufacturing site of the product cannot be determined, since GAP once again refrains from printing the required information and once again, the use of rubber feet was also waived. Therefore, watch out for sensitive surfaces, the screws on the case's underside aren't completely countersunk!

The case itself makes a good impression, but is still quite a way from the heavy-duty department of the original. Of course, you also have to consider the retail price of only 549 Euros in this context. The clone from Universal Audio, which has been taken out of the program in the meantime, is almost three times as expensive, and we don't even want to talk about a well-maintained original.

Among other things, the refreshingly reduced equipment was taken over in the form of a gain and a peak reduction control, along with a large VU meter. In combination with the properties of the opto-coupler, a very effective compression of the sound can be set in the simplest way. For all those to whom an optocoupler means little. The characteristic sound of the optocoupler results from a luminous foil, which is opposed by two photoelectric resistors. The stronger the input signal, the stronger the foil glows and the brighter the light, the lower the resistance of the photoelectric cells.

Optocouplers generally do not have attack and release controls, but adapt to the applied input signal via their special response behavior. The result is the much appreciated non-linear compression behavior, which allows a touch more musicality than other conceptions. Unlike the original, however, the Golden Age Project Comp-3A has a few more controls on the front of the cabinet, allowing for much more advanced operation.

In addition to a trimpoti, which allows balancing in stereo operation with 2 pieces of Golden Age Project Comp-3A, the device also has a potentiometer for the sidechain filter, a stereo link switch, as well as a selector switch for compressor/limiter operation and a true bypass switch. In addition, the Golden Age Project Comp-3A has a circuit labeled with the words "Clearmountain Modification", which can be used to activate a 20 dB pad if needed. Bob Clearmountain is one of the protagonists of Neve compressors and is not without reason honored with the same circuit, which lowers the noise floor and extends the level reduction.

The sidechain operation is not a simple highpass filter, but the sensitivity of the device is shifted more into the treble range. Thus, the Golden Age Project Comp-3A can also be used very well as a de-esser.

At the rear there is a link output for the operation of 2 Golden Age Project Comp-3A compressors and 2 outputs in TSR and XLR form. As usual, the "board bug style" power supply is supplied separately. Even if this practice saves production costs for foreign distribution, a touch of "cheap" unfortunately always hangs over this design, especially since the mini plugs slip out of their anchorage much faster than a proper IEC plug. Be that as it may, this practice does not change the sound.


Practice

If one has set the goal to copy a legend of audio engineering, one must not only face the sonic challenge, but in the case of the LA-3A also take on the ease of handling. This claim is fulfilled by the Golden Age Project Comp-3A with flying colors. The minimalist principle of the two controls immediately achieves very good results, both in compressor and limiter mode. The unit sounds smooth without muddiness and delivers a direct sound, which does not swallow or discolor any nuances.

Because of the circuitry, the Golden Age Project Comp-3A also sounds very tight yet "relaxed." As expected, it is less suitable as a 0 dB fidget compressor for extremely hard productions, but as a musical partner in dynamic interplay with a rather airy source material it cuts an excellent figure even in limiter mode. The optocoupler can bring its full strength to bear on the signal, especially when the material is decaying.

The circuit intervenes in the material in a typically soft way, which is naturally best realized with dynamic signals such as clean guitar sounds, brass and of course vocals. With complex or already heavily compressed material, the circuit inevitably comes to its limits, here an external release control must provide clarity. To what extent such signals need to be compressed again, however, is another matter.

As expected, the Golden Age Project Comp-3A not only works slower compared to conventional compressors, especially in the release range, but also in direct comparison to other optocouplers one tends to accuse it of a certain "sluggishness". Whether this is a disadvantage depends once again on personal taste and the source material. Personally, I find the vintage character in this envelope processing very well met, which thus also shifts the character of the outgoing signal more into the vintage realm.


Conclusion

With the Golden Age Project Comp-3A, the Swedish cloning machinery convinces once again. The compressor/limiter, which is based on the legendary Neve LA-3A, shines with a very intuitive 2-knob technology, which also delivers excellent results with very little effort.

Even if the outer appearance is in certain points a little owed to the price policy, the inner values of the product convince all along the line. If you want to integrate a large part of the legendary Neve sound into your workflow at a comparatively very reasonable price, you will find a very good optocoupler in the Golden Age Project Comp-3A, which can show its strengths especially in the signal processing of open sound material in the area of bass, guitar and vocals.

An excellent clone, definitely test it!

Additional Informations:

- Audio compressors are one of the most important tools in a sound producer's toolkit. They play a crucial role in shaping and controlling the dynamics of audio signals. In this article, we will explore what audio compressors are, how they work, and how to use them effectively in sound production.

What are Audio Compressors? An audio compressor is an electronic device that reduces the dynamic range of an audio signal. In simpler terms, it reduces the difference between the loudest and quietest parts of the signal. It does this by automatically lowering the volume of the loudest parts of the signal, so they are closer in level to the quieter parts.
How do Audio Compressors Work? Audio compressors work by using a threshold and a ratio. The threshold is the point at which the compressor starts to reduce the volume of the audio signal. The ratio is the amount by which the compressor reduces the volume above the threshold. For example, if the ratio is set to 4:1, then for every 4dB the audio signal goes over the threshold, the compressor will reduce the volume by 1dB.

Types of Audio Compressors There are several types of audio compressors available, each with its unique characteristics. Some of the most common types include:
VCA (Voltage Controlled Amplifier) Compressors: These are the most common type of compressor and are known for their transparency and accuracy.

Optical Compressors: These compressors use a light source and a photocell to control the volume reduction of the audio signal. They are known for their smooth and warm sound.
FET (Field-Effect Transistor) Compressors: These compressors use FETs instead of tubes or transistors to control the volume reduction of the audio signal. They are known for their fast attack times and aggressive sound.

Using Audio Compressors When using audio compressors, it's important to understand the dynamics of the audio signal you are working with. Different types of audio content, such as vocals, drums, and bass, will have different dynamics that will require different settings on the compressor.

Here are some tips for using audio compressors effectively:

Use a gentle ratio setting to avoid over-compression, which can result in a loss of dynamic range and a "squashed" sound.

Adjust the attack and release times of the compressor to match the dynamics of the audio signal.

Use the makeup gain to bring the overall level of the audio signal back up after compression.

In conclusion, audio compressors are an essential tool in sound production. By understanding how they work and how to use them effectively, sound producers can achieve a more polished and professional sound.

- Rupert Neve was a pioneering audio engineer and inventor whose impact on the world of sound recording is immeasurable. He is best known for designing and building high-end audio equipment that has been used on countless hit recordings over the years. In this article, we will explore the life and legacy of Rupert Neve, and his contribution to the audio industry.

Early Life and Career Rupert Neve was born in Newton Abbot, Devon, England in 1926. His father was an electrical engineer, and this sparked his interest in electronics at an early age. After serving in World War II, Neve studied at the Technical College in Redruth, Cornwall. He then worked for a number of companies, including Ferguson Radio, where he developed his skills in audio engineering.

In 1961, Neve founded his own company, Neve Electronics, in Little Shelford, Cambridge. He started designing mixing consoles and other audio equipment for the emerging British music industry. His equipment quickly gained a reputation for its superior sound quality and innovative features.

In the 1970s, Neve moved to the United States and set up a new company, Rupert Neve Designs, in Wimberley, Texas. This company continued to design and manufacture high-end audio equipment, including mixing consoles, preamplifiers, and compressors.

Innovations in Audio Equipment Neve was a true pioneer in the field of audio engineering. He was constantly seeking new ways to improve the sound quality of recordings, and his inventions revolutionized the industry. Here are some of his most notable innovations:
Transformer-coupled designs - Neve was one of the first engineers to use transformer-coupled designs in audio equipment. This allowed him to achieve a warm and rich sound that was highly sought after by recording engineers.

EQ circuits - Neve's EQ circuits were renowned for their precision and musicality. They allowed engineers to shape the sound of recordings with great detail and subtlety.
Dynamic range expansion - Neve's dynamic range expansion circuitry allowed engineers to capture the full dynamic range of musical performances, without the distortion that was typical of older recording techniques.

Modular design - Neve's modular designs made it easy for engineers to swap out individual components, allowing them to customize their equipment to their specific needs.
Legacy and Impact Rupert Neve's impact on the audio industry cannot be overstated. His equipment has been used on countless hit recordings, and his innovations have shaped the sound of modern music. Neve's legacy lives on through his companies, Rupert Neve Designs and AMS Neve, which continue to produce high-end audio equipment that is prized by recording engineers around the world.

In addition to his technical achievements, Neve was also known for his dedication to quality and his passion for music. He was a mentor to many young engineers, and his legacy continues to inspire future generations of audio professionals.
In conclusion, Rupert Neve was a true pioneer in the field of audio engineering. His innovations in audio equipment have had a profound impact on the industry, and his dedication to quality and passion for music continue to inspire generations of engineers and musicians.