Rockruepel COMP.TWO Compressor

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Product Code: 9999-15073
Rockruepel COMP.TWO
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Rockruepel COMP.TWO Compressor

The Rockruepel COMP.TWO Compressor is quite possibly the BEST and FINEST sounding compressor you'll ever lay ears on. A tall claim? We don't think so. It's also one of the most flexible compressors you'll ever use. The COMP.TWO is an all-tube, ultra-fast, stereo / dual-mono compressor, handmade in Germany, and available exclusively in North America by Front End Audio. We dare you to find out for yourself!

The COMP.TWO is designed for mastering, mixing and recording and offers a pristine and highly transparent sound due to its exclusive audiophile approach. After years of development and searching for optimal sound and design, Rockruepel has developed the COMP.TWO resulting in one of the best sounding modern variable-mu. This stereo/dual mono compressor is optimized for daily professional use.

The function of the COMP.TWO is based upon the optimized vvariable-mu design and never compromising on highend components and a minimalistic approach. The COMP.TWO is built on fully balanced tube circuitry. The main audio path consists of Sowter input and output transformers, two high end coupling capacitors, input and output tubes (NOS 6N3 and 6CG7). The "true" dual mono design has separate power supplies for every channel. The potentiometers are encapsulated, quality products from ALPS. Every rotary control comes from the Swiss premium manufacturer ELMA. The Hoyt VU meters can be calibrated with a trim pot hidden behind small holes in the rugged front plate. All switches use relays or directly determine control voltage. The two bypass switches separate circuitry, so that only input directly connects with the output (true bypass). An IC is used to regulate the VU Meter. Apart from that circuitry, the COMP.TWO consist of discrete components and is hand wired in Germany.

In addition to the essential controls such as input, output, threshold, attack and release, the COMP.TWO provides a side chain with an integrated three stage filter. (Flat, 50, 74 and 110 Hz). This filter takes out high energy bass frequency that could otherwise affect the compressor’s behavior. The special "amp only" mode uses only the in and output stages and not the compression. Some may say "Tube compressors sound good but they are too slow. I prefer VCA compressors because of their speed." The COMP.TWO accomplishes both, with an attack up to 600μs it is extremely fast but it also has a soft and really musical knee compression for your sound processing.

Rockruepel COMP.TWO Compressor Features

  • All-tube design
  • Fastest Variable-Mu design - unparallelled flexibility previously unavailable in other designs
  • Three separate low-cut / high-pass side-chain settings
  • Amp-Only Mode - take advantage of the gorgeous sonics of the COMP.ONE without compressing
  • Dual-Mono and Link Modes - Individual channel controls allow independent channel operation and enhanced triggering flexibility when in Link Mode.
  • Hand-built in Germany

Rockruepel COMP.TWO Compressor Includes

  • COMP.TWO Mastering Bus Compressor
  • User Guide / Owners Manual
  • IEC Power Cable
  • Manufacturer Warranty

What We Think

The Rockruepel COMP.TWO Compressor is one of those rare pieces of gear that comes along that can change everything for you - and certainly for the better. Having spent quite a bit of time using the COMP.TWO, I can honestly say that this particular comp/limiter is difficult to make sound bad. But in the hands of an expert-engineer, a hidden beauty - much like a genie from the bottle - is able to be coaxed out of their work. Still, the COMP.TWO's mastering quality all-tube signal path has a wonderful habit of making everything that passes through it sound better without even the first squeeze of compression.

The Rockruepel COMP.TWO is not what I would call a 'grabby' or "edgy" compressor. In fact, it's sound is deliciously smooth, which is certainly keeping in-step with the mythical Fairchild designs - but I would say that the 'feel' is that you have a lot more range and flexibility throughout all ranges to shape the compression characteristics. But like the Fairchild, you can drive the Rockruepel into explosive and exciting compression artifacts on drums (though never really over-the-top), making it a very nice companion in the mix on room mics - either straight up or in parallel. Unlike the controls of the Fairchild, you don't have the release-constants that are oft employed on some newer vari-mu designs as homage to the Farichild design. Instead, both Attack and Release are much more conventional (and flexible, I might add) controls, but they are stepped for accurate recall. So, it's sort of the best of both worlds in this regard. I find that it's easier to get specific results quickly with this functional layout of 'faster/slower' where you can remain artistic and in the moment. And 'artistic' is an important word here - this box inspires the 'mix-artist' within when you're working with it.

The COMP.TWO is easy to use and easy to get the sound out of it that you're after - something not always attainable in many classic compressors which often exhibit a narrow range where they sound their best (or even just 'good'). Where I've found that I love to have the COMP.TWO is on the mix bus after summing. When put together with a Dangerous Music BAX EQ (and a Massive Passive tossed in there wouldn't hurt, either), I find that this is where the COMP.TWO takes something that is good and turns it into something exceptional. I consider the COMP.TWO to be that final, and all-important conduit through which everything passes. Where summing can get things deep and wide to a certain point, the COMP.TWO puts that special magic all over the mix without introducing artifacts that start changing the mix in ways that mess things up. Just passing signal through it without compression sounds good - hence the inclusion of the AMP ONLY mode - which is different than Bypass in that bypass is a hard-wire detour direct to the output; giving you an accurate comparison as to what the COMP.TWO is actually doing for your audio.

An important distinction to make is that not all 'premier' compressors of the same operational principle can be made to sound alike. There are specific (and often not-so-subtle) nuances that come forward in the mix when things start to push. Where other variable mu design compressors can make certain vocal elements 'strident' or biting when a singer suddenly 'goes for it', the COMP.TWO absorbs the energy and doesn't go harsh. In fact, it's rare to find a compressor that wouldn't at least tend to lean in the direction of 'harshifying' when pushed hard. And they'll likely even still impart some sort of distortion in other areas that alters the mix in unexpected ways that aren't desirable. So, what many customers have found when bringing the COMP.TWO into their studio is that their other 'flagship' compressors do not negate the need for the Rockruepel. In fact, their function and sound almost beg for it. Bottom line - if you could own only one stereo mix-bus or mastering compressor... yep, the Rockruepel COMP.TWO Mastering Bus Compressor is the candidate.

From tracking to mixing, and mixing to mastering, the Rockruepel COMP.TWO is the emerging star of legend in the engineer's stable. All of the customers who have purchased them so far are thrilled with the results. And we would love to help put a COMP.TWO to work into your studio so you can hear for yourself what it can do for your work.

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3 Reviews Hide Reviews Show Reviews

  • 5
    The best

    Punch for days. Wow. I have an STC-8, Foot Control P4S ME, and a HCL Varis, and this. Almost every time I battle them out on a master, this one wins. It has the punch and the vibe, the lowend and the clean top end, and it makes things sound like a record. One of the quickest attacks in any compressor. It is fantastic.

  • 5
    Rock me, Paul

    Knowing that I love great compressors for tracking and mixing, Alan Moon kept bugging me about his friend, Paul. It turned out that he was actually trying to turn me on to the Rockruepel Comp Two, which has become a main mix buss comp for me. Like another variable-mu comp that I use (from Manley), the CompTwo provides a compression response arc that is very musical. However, the CompTwo has the ability to sound very transparent and smooth while in moderate or serious gain reduction. I find that it is also useful for getting "wacky", ear-tickling effects. I wouldn't want to mix without it.

  • 5

    Just got this in and ran my first mix through the COMP.TWO! It was crazy. The mix was a pop/rock song that I just produced for a client last week. It was already finished in my mind. Well, I wish I had this thing sooner. It has some serious sonic mojo! I found it to be super easy to use. I was able to keep it pretty transparent on the 2bus but also had the ability to color the mix pretty heavily (I mean that in a good way) if I wanted to. I'm mixing a folk/pop record over the next couple weeks and I'm super excited to have the COMP.TWO along for the ride. I'll write a more comprehensive review once I really am able to work with it. Front End Audio was awesome to work with. Alan Moon is the man! I look forward to working with them in the future!