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That switch can essentially emulate the non-linearities and pumping of an 1176 in “All Buttons Mode”.

Some analog versions of the Impresser were later modified with the so-called “British Mode”.

Three decades later the analog version of our Impresser can be found in most studios around the globe and has gained the reputation of a true Studio Swiss Army Knife. That made it not only the most flexible compressor at its time, but also a complete color palette being able to emulate tube & tape saturation. The Impresser’s father had the ability to saturate and distort by adding 2nd and 3rd order harmonics or a combination of the two. The Impresser was born as a readily available tool that can provide the same quality optical compression as an LA-2A yet with the switch of a few buttons transform itself into 1176-style fast compressor.Īround that time Grunge music was at its peaks and studios were seeking tools that can add analog distortion, color, and dirt to the music. In that period the 1176 and LA-2A had already established themselves as a must for every studio yet they were no longer in production and were hard to find. The original hardware unit (father of the Impresser) was designed in the early 90s and reflected its time. Like all Antelope Audio FPGA compressor models, you can use the Impresser either in mono or with two channels stereo linked. This enables even deeper control when shaping the frequency range for where you need the Impresser to work.

Our own contribution to the effect is the adjustable frequency settings for the High and Band Pass Sidechain Filters. It works its magic with or without the Impresser compressing the signal. This can be used for subtle, tube-quality distortion and even in place of a tape saturator. The flexibility of Impresser is aided by the addition of its own harmonic distortion. Impresser can add gentle and warm compression to your tracks or aggressively pump up any source audio.