Rockruepel COMP.TWO Mastering Bus Compressor

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

The Rockruepel COMP.TWO Mastering Bus 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, Remote-Cutoff (Variable Mu), 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 Rockruepel COMP.TWO Mastering Bus Compressor revolutionizes the design of the classic variable-mu compressor design and makes what is emerging as a neo-classic. Already quite popular in Europe, the Rockruepel COMP.TWO is an all-tube (valve), stereo/dual mono variable-mu compressor design, hand-made in Germany, and which, aside from being a unit which by only passing signal through it makes a marked and very pleasing improvement upon the sound, also holds the unique distinction of being the fastest variable-mu design to date.

The benefit of the unique ultra-fast attack and fast release times is that the Rockruepel COMP.TWO Mastering Bus Compressor allows you hone right in on the leading transient, compress it, and then let off fast enough not to affect the remainder of the waveform. So, it is a true mastering tool for precise compression duties where the goal might be to retain all of the available dynamic range.

But that's not to say that the Rockruepel COMP.TWO Mastering Bus Compressor isn't a "vibe box"; it most certainly IS, and it can add all sorts of funky - but still refined and very usable - flavor when pushed hard in only the way that a premium quality compressor can. So, the COMP.TWO is not just for mastering; it's equally at home in the tracking and mixing studio.

The combination of both variable resistor controls for Input, Output, and Threshold and stepped-switches for Attack and Release allows for maximum user precision when dialing in on the program material to be compressed. This configuration has worked very well for mastering engineers throughout Europe for some time now.

Three separate low-cut / high-pass side-chain settings (6dB/oct @ 54Hz, 74Hz, and 110Hz) give you ample choices to avoid bass or kick drum signals (low frequency) alone from triggering the compressor, resulting in a more powerful mix.

The Rockruepel COMP.TWO Mastering Bus Compressor continues the great reputation earned by Rockruepel by the earlier (now discontinued) COMP.ONE and opens the doors to many more users that seek a high end mixing and mastering compressor with a fantastic sound and design.

The Rockruepel COMP.TWO Mastering Bus Compressor is hand-built in Germany and is proudly imported and made available within the United State, exclusively through Front End Audio.

NEW for 2016! *** The VARGAS EDITION *** -The original Rockruepel COMP.ONE (discontinued) featured unique meters with a classic "pin-up girl" on a swing. When the Rockruepel COMP.TWO Mastering Bus Compressor was released without the girls, the first question many asked was, "Where did the girls go?!?!?" While others preferred the meters having a bit more of a reserved, classic look to them. So, for those who wish to have the not too terribly risque' look of the original Rockruepel meters in their new Rockruepel COMP.TWO Mastering Bus Compressor, the Vargas Edition is available for an optional fee. Select it in the Options menu when adding to cart, or simply call us at 888-228-4530 to order.

Rockruepel COMP.TWO Mastering Bus 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 Mastering Bus Compressor Specifications

  • Input Gain: -00 - +17 dB non stepped
  • Output Gain: -00 - +17 dB non stepped
  • Threshold: non stepped
  • Attack: stepped switch
  • Release: stepped switch
  • Input Impedance: ~17 KOhms
  • Output Impedance: ~600Ohms
  • Tubes: 2 x 6n3, 2 x 6cg7
  • Sidechain EQ Settings: 6dB/oct @ 54Hz, 74Hz, 110Hz
  • Power Supply Voltage: 120 Volts / 60 Hz (configured for Western Hemisphere)

Rockruepel COMP.TWO Mastering Bus Compressor Includes

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

Rockruepel COMP.TWO Mastering Bus Compressor Downloads

What We Think

The Rockruepel COMP.TWO Mastering Bus 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 Mastering Bus Compressor 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 Rockruepel COMP.TWO Mastering Bus Compressor 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 Rockruepel COMP.TWO Mastering Bus Compressor 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 Rockruepel COMP.TWO Mastering Bus Compressor 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 Rockruepel COMP.TWO Mastering Bus Compressor 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 Rockruepel COMP.TWO Mastering Bus Compressor 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 Mastering Bus Compressor 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 Rockruepel COMP.TWO Mastering Bus Compressor to work into your studio so you can hear for yourself what it can do for your work.
- Front End Audio

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3 Reviews Hide Reviews Show Reviews

  • 5
    The best

    Posted by Adam Straney on Feb 21st 2017

    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

    Posted by Stuart Martin on May 8th 2015

    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

    Posted by Joshua Ray on Nov 13th 2013

    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!