Keeley Pedals / Keeley GC-2 Limiting Compressor

Keeley GC-2 Limiting Compressor Click on image(s) above to view larger
£165.83
£149.25

BACK
All prices contained on this page are exclusive of VAT. This is currently charged at 20% and is payable by all EU countries.

Robert Keeley is one of the best Guitar pedal designers and modders in the music industry. The worlds biggest stars and producers use his pedal from Steve Vai to U2 'The Edge'.
10 % Discount Christmas Special


The Keeley GC-2 Limiting Amplifier Compressor uses the same compression and limiting technology available in our Bassist Compressor tailored to the needs of guitarist and other musical instruments.

Precision Compression

The Keeley GC-2 Limiting Amplifier Compressor provides true high-fidelity compression and limiting.

The GC-2 Limiting Amplifier Compressor is built around the exotic and extremely high fidelity THAT Corp. 4320. Think of it as very musical studio-grade compressor in stomp box format.

It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra high performance op-amps to bring you the very best quality.

This type of compressor gives you precise control and very musical results. This along with a full frequency range means that this compressor is well suited for guitar, keyboards, and drum machines and anything else you care to throw at it. The Keeley GC-2 Limiting Amplifier is both musical and very transparent.

Where our older compressors were based on the CA3080 or the LM13700 and are perfect for that “Compressor Effect” and is still in use by tens of thousands of players, the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency! Not only can it handle astonishingly large signals, it has an incredible bandwidth of over 20 KHz. No detail in your guitar’s tone will be lost and now you now have a genuine rack-mount quality unit at your feet.

Compression and Threshold

When musicians use the new Keeley GC-2 they will be greeted with a sound that is more easily amplified and heard. Using the effect as a limiting amplifier saves your speakers from clipping and distortion. Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers. Simply watch the Threshold Indicator light to see what type of playing you want to limit, it’s that easy! Next set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold. Set Compression all of the way down for no (1:1) compression and use the Gain control as a boost. Set Compression all of the way up for an above-Threshold hard-knee limiter.

Attack and Release

There is a certain figure that just sounds good as far as compression goes; and that’s 125 dB/second. With feed forward compressors that use this type of true-RMS detector you use a single time constant parameter. The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor. Bottom line: Attack and Release times vary on program content. Attack times are generally speaking, about 100 times faster than release times.

Attack Time: typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB

Release Time: typically 8ms for 1dB, 40ms for 5dB, 80ms for 10dB, 160ms for 20dB, 240ms for 30dB

Tone Control and Blend

Blend control-None – You don’t need a tone control or a blend control on a compressor. In fact, it’s not a good idea in our opinion. If you want a blend control, you are undoing your compressor. Instead, set the Threshold high and only let peaks be processed and then set the Compression Ratio to 2:1 or 4:1.

Tone control- None There is no need to add treble response back into the mix. The pedals feed-forward compression design helps maintain high-end treble response like no other design. Lastly, Tone Controls and Blend Controls can only add noise in a compressor. Why add noise to a compressor circuit.

Comments



NEWSLETTER SIGN UP

FOLLOW US
Facebook Twitter Follow us on Instagram