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B Y PA U L V N U K J R .

Slate Pro Audio Dragon Dynamic Processor

Interesting control options highlight this new dynamics processor from a new maker
Steven Slate wears many hats. First known for the Steven Slate Drums libraries, he has branched into audio software with Slate Digital (we reviewed his excellent Trigger Platinum drum replacement program in our April 2011 issue) and also into hardware with the new Slate Pro Audio line. Its first product is the Dragon dynamic processor, under review today. The Dragon is a two-space single-channel unit built around a classic FET compression circuit. Internally it makes use of pro-audio-grade components with a transformer-balanced input and a transformer-balanced class A output path. While visually it’s slightly reminiscent of the elder statesman of FET compressors, the UREI 1176, the Dragon is so jampacked with controls and features that the close similarities begin and end with the large VU meter! Dragonology This 12 lb. beast is clothed in all black armor with a gloss-coated oriental dragon graphic sprawled out across its faceplate. While product photographs make this graphic appear grayish and garish, in person it is more of an illusion visible only in direct light... very classy. Each pot and switch is of very high quality, with nice resistance and glide. Unlike the sometimes flimsy FET compressors of old, this unit is built for battle. Input and output are on balanced XLR and 1/4" TRS connections on the back, plus a pair of 1 /4" jacks for stereo linking two units. Dragon control In front, the unit has an input knob, a 5position ratio switch (2:1, 4:1, 8:1, 12:1, 20:1), Attack and Release controls with 20 to 800 microseconds of attack time and
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50 milliseconds to 1.1 seconds of release time, plus an output/make-up gain knob. Then there is a by-pass switch and a switch to engage the requisite “all buttons in” mode found on an 1176, and a Link switch. Besides linking together the threshold reaction of a pair of Dragons, the Link switch has the hidden feature of halving the ratio values when used on a single mono unit. If this was all, you’d have a very clean, smooth, modern sounding FET compressor that handles gentle 2:1 (1:1 in mono link mode) compression all the way to a slamming 20:1. But this is just the start. The real key to the Dragon lies in the flexibility found in the rest of its feature set. Dragon tricks The Dragon offers two controls that were a rarity until maybe five years ago, and are now more common in new designs. The first is a highpass filter that lets you control how much low-frequency information reaches the unit’s detector. This adds transparency in stereo-linked operation and can help to avoid “pumping”. On the Dragon you get settings of 80, 100, 120, 160 and 200 Hz. The second is a Mix knob. Just like the ones found in most effects processors, this simple control allows the user to dial the compression in and out of the dry signal and essentially perform parallel or “New York style” compression all in one box. Again, if the Dragon stopped here it would be a useful, handy great-sounding tool, but the next section offers some unique features, many of which I have never encountered in a stand-alone analog compressor before—a set of unique tone-control options. The first part of the Dragon’s tonal shaping journey starts with a toggle switch

labeled Vintage. When flipped, it engages an additional output circuit designed to add back harmonics, the grit, feel and what Slate calls the “attitude” found in vintage compressors. Aside from a thicker harmonic tone, this feature also causes the attack and release to be more sensitive and very subject to minute adjustments. Next up are three Character switches. When engaged, each of these boosts a particular part of the frequency spectrum, essentially high, mid and low, and thrusts them forward in the mix. The high frequency is called Sheen and according to Slate is meant to emulate the forward, airy highs found in the old photo-optical cell compressors like a UREI LA3A. Next is Bite, and while that sounds like it should be a “take your face off” high-frequency setting, it is more of a solid hi-mid tone that adds punch and crack to snare drum, guitars and even adds in a nice string presence on bass guitar. Then there is Boom. Its name alone should be all you need to know, and it lives up to it in spades, with a low oomph all the way down to 40 Hz. Dull kick drum or bass? Not any more. One warning from the Dragon’s manual is that you really need a sub to appreciate what this control does to the low end, and I concur. While it definitely adds an almost magical fullness to the low end, you may not hear it on typical full range monitors and it could easily be adding way more bass than many computer/car speakers can comfortably handle. The last feature of the Dragon is a saturation knob. With three available choices, this control adds harmonic distortion from slight thickening all the way to pleasant subtle fuzz. While this feature is similar to the distortion settings found on an Empirical Labs Distressor, they are to my ear a tad less aggressive with a broader range. As with

Recording - August 2011

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