Looptrotter Monster Compressor Review
Is Looptrotter’s hybrid tube/solid-state Monster Compressor a Polish giant-killer? John Pickford finds out.
Price: £2,400.00
Manufacturer: Looptrotter
Website: http://www.kmraudio.com
Dynamics processing has always been crucial in the recording of popular music, and now, more than ever before, there is a multitude of compressors and limiters on the market. Many manufacturers choose to re-create designs based on classic gear from sound recording’s illustrious past, and there’s no shortage of hardware and software that offer the features and sound of legendary units such as the Fairchild 670 and Urei 1176, to name just two.
Looptrotter Audio Engineering is a new company founded by Andrzej Starzyk and based in Poland; the Monster Compressor is its first foray into the pro-audio market. Rather than copy a well-known design, though, Looptrotter has opted to create a brand-new unit that incorporates both valve and solid-state technology. The compressor is a FET (Field Effect Transistor) design, but the Monster also makes use of valves to provide a saturation effect, which can be used in conjunction with or independently from the compressor.
Visually, the Monster is an industrial-looking device that comes in a distinctive shade of Reliant Robin Yellow, seemingly beloved of traders that go by the name of (Loop)Trotter. It’s a striking design that would not look out of place gracing the control panel of a JCB digger. Although it’s not the prettiest compressor we’ve seen (with a name like Monster you arguably wouldn’t expect it to be), the black-on-yellow legends make for easy legibility in dimly lit studios.
Monster mash
The FET compressor features four stepped rotary pots per channel, enabling the control of input and output levels plus attack and release compression times. Attack times are available in 11 steps from .1ms to 100ms; release times start at 15ms and continue – again, in 11 steps – up to 1.5 seconds. Compression ratio varies with changes in input signal level; a toggle switch, when employed, enables the unit to be used as a soft-knee limiter. In this mode, compression ratio remains signal-dependent up to 6dB of signal reduction, then acts as a brickwall limiter. Two vertical rows of LEDs provide metering of gain reduction and output level; a Bypass switch allows the compression circuit to be removed from the signal path.
The Tube (valve) Saturation section of the Monster’s fascia comprises a single stepped rotary pot that controls the level of harmonic distortion; second harmonics can be further boosted by means of a toggle switch. This section may also be bypassed.
The main output of the Monster is controlled by another stepped pot, while a similar pot (this one labelled Mix) allows for the blending of wet and dry (processed and unprocessed respectively) signals. The two large illuminated VU meters (one for each channel) can be switched to show either gain reduction or output level, while a True Bypass switch removes all of the circuits from the signal path. A Link switch is provided for stereo operation (although the settings must still be matched manually) and the power switch is sensibly located on the front panel.
Down and dirty
It was clear right from the start of the test period that the Monster is an audio processor with attitude. Some compressors go about their business in a transparent manner, subtly levelling the signal without imparting too much in the way of sonic character. The Monster, however, has been designed as a creative tool that’s meant to be heard – transparency was clearly not at the top of Looptrotter’s priority list.
Surprisingly, for a fully featured compressor, the unit is very easy to get to grips with. The absence of threshold and ratio controls make it easy to create effective compression curves simply by adjusting the input level and response times. The Monster takes care of everything else in a satisfyingly musical way.
The Tube Saturation feature will undoubtedly draw many potential customers to this unit. Used sparingly, the distortion that the overdriven valve provides adds a wonderfully warm degree of edge or grit to the sound passing through it, although heavy-handed use produces a fizzy, fractured sound reminiscent of a device that is faulty or about to expire. The trick is to get the right balance between the level of signal being fed into the circuit via the Output control of the compressor and the amount of drive applied by the Saturation pot. Used sympathetically, the Tube Saturation can give results similar to the sound of old valve mixing consoles driving analogue recorders hard, burning the signal to tape.
The other unusual (but useful) feature of the Monster is the Mix control. This enables you to create a blend of processed and unprocessed audio, so you can severely squash the signal but retain some of the natural dynamics of the untreated sound. This effect is known as parallel compression, a form of upwards compression that boosts quieter elements of the signal without adversely affecting the sound’s original transients and dynamics.
On the edge
We first used the Monster to compress a soulful female vocal with huge dynamic range. A medium attack time of 5ms and a fast (25ms) release time was selected, and the input increased until the LED meter was indicating that between 6 and 9dB of reduction was taking place on the loudest parts of the performance, while the softer passages were reduced by only 3 or 4dB. The compressed signal was then fed into the tube – a Russian military-grade 6H2N-EB similar to the more common ECC83 (aka 12AX7). By carefully adjusting the compressor’s output level and gradually increasing the amount of saturation we were able to achieve a nice ‘hot’ sound, like those 1960s Aretha Franklin vocals that almost break into audible distortion but maintain an upfront, edgy vibe.
The next test was to strap the Monster across a pair of drum overheads (AKG 414s) and attempt a spot of parallel compression. With a slow attack/fast release setting we got the kit vigorously pumping, then eased back on the Mix control until some natural dynamics were restored, while retaining a tight, cohesive sound.
The Monster stamped its sonic signature across everything we tried it on. It probably wouldn’t be the first choice of compressor for those who record mainly acoustic music, but for anyone wanting a high-quality, versatile and modern-sounding unit to heavily process all manner of rock, pop and dance, the Monster should be given serious consideration. MTM
Verdict
WHY BUY
Fully featured design
Characterful sound
Easy to use
Bomb-proof build quality
WALK ON BY
Lack of transparency
Not the prettiest of units
A versatile piece of kit that will make its mark creating all types of highly processed, modern music.
★★★★★★★★★
Score: 9
This review first appeared in Music Tech Magazine issue 103
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