I was just sitting there minding my own business when the Sweet Notes editor entered the room and pointed in my direction. I looked behind me, but there was nobody there - I had hoped he was simply warning me about some possible attacker, but then his motives are never that simple.

He walked over to my desk and carefully set a box down. “This is an Oram Sonicomp 2,” he said reverently. “I need an article for the next issue and it needs to be great. You’re the only one in the company I trust to do the job right.”

Okay, maybe he didn’t exactly say that last sentence, but I’m certain it was implied. Knowing this, I couldn’t let him down. But where to start? Open the box up, dummy, was my first thought. Inside was a Sonicomp 2, as the editor had promised, and I had to admit it looked pretty darn nice. Heavy, too - this was no lightweight, budget model, but a pro quality processor that I was certain would look great in my rack (or anyone else’s, for that matter).

But knowing we were up against a tight deadline, I had to get some information about this unit - fast. Sure, I would take it into the studio and give it a workout, but considering that this was an Oram product, I knew there had to be more to the story than just how superbly the Sonicomp might perform.

Then a light went on over my head, just like in the cartoons. Actually, it was the editor turning on the overhead lights. “You shouldn’t be working in the dark,” he said. “You’ll ruin your eyes.” But at that moment I knew what I had to do. I swung around to my computer and sent e-mail directly to John Oram. If anyone was going to give me the inside story about this piece of equipment, this was the man.

Imagine my surprise when the very next morning I had e- mail, and it was indeed from “the man” himself, John Oram. I was stunned! The man who designed this processor had actually taken the time to write me a message. And no ordinary message, either. Because here were facts about the Sonicomp that are known to only a few mortals. Therefore I must ask that you keep this vital information in a safe place (like under your pillow).

The Sonicomp 1 ($1995 list) is a single rackspace module with LED meters and the Sonicomp 2 ($2590 list), which is a two rackspace module with VU meters and the traditional Oram high-end appointments over a full 6mm aluminium sculptured front panel in that distinctive Oram blue.

Each Sonicomp represents the best possible combination of the old and the new. Vintage optical attenuation and state of the art semiconductor attenuators give immediate A/B comparison between round knee- and precision level adjustment. The control parameters are infinitely adjustable between wide range limits: Input level is adjustable from -20dBu to +20dBu; Attack can be set from 0.1mS to 40mS with a Ratio of 1.4:1 to 30:1 (which is full limit); Threshold is variable from -25dBu to +20dBu, while Release can be set anywhere between 0.05 seconds to a full 3.0 seconds. Output level (Gain) can be adjusted from 0dB to +15dB and there’s a Link switch to enable stereo tracking. A side-chain EQ insertion point allows for frequency selective compression. What’s more, both units offer Optical LDR / Solid State switching, output level and gain reduction metering, a precision toroidal based power supply and balanced ins and outs.

Here’s where it gets tricky, so bear with John and me here. In the early days, vintage Limiter/Compressors featured a flashlight lamp (it’s true) and a cadmium-sulphide cell to control the attenuation required to provide the modulation of the audio signal. Eventually, units began to be made with semiconductor attenuators, which are basically VCAs (voltage controlled amplifiers). Oram’s Sonicomp features both these technologies, which allows users total control of their processing with immediate switching between the two control technologies.

The vintage optical system has a noticeable soft round knee at the threshold point of compression. Where more subtle control is required (in a final mix situation, for example), then optical control transparently looks after peak excursions, while gently squeezing average program level to reduce dynamic range, ready for a gain boost at output. Meanwhile, solid-state, with its ability to take control of peaks instantaneously, ensures levels are within safe limits, preventing over modulation of the recording media or broadcast transmission devices.

On the Sonicomp 2 (the unit I was working with) the meters are true-blue VUs, switchable between level and gain reduction. They actually change color (make that “colour”) to make it obvious what mode you’re working in. SS mode gives solid-state attenuation and LDR is absolute vintage all the way.

You can use the unit’s features independently, or even slave them in series for dual compressor effects. Each channel has a switchable side-chain enabling EQ control and ducking attenuation. You can use the switchable Link mode to have both channels track together for true stereo image preservation, or let channel A take the lead, or channel B be master. This is total flexibility!

While all this is great technical information, what probably matters most to you is just one thing: How does it sound? In three words, like an Oram. Meaning it has no noise that I could detect and a superior musicality that blows away compressors with inferior designs. Not that these other units sound bad, it’s just that a Sonicomp sounds so much better, you just can’t go back to whatever you were using before.

Engineers around the world have called John Oram’s designs “magical.” And, to tell the truth, I can’t dispute that. In fact, that one word is probably the only fitting way to describe the effect that the Sonicomp has on music. I used the unit on an acoustic guitar track and several vocals (lead and background) and even on an entire mix. In every case, it performed flawlessly.

It’s obvious that, once again, John Oram has set a new standard that others will try to copy for years to come. I suggest that if you are truly serious about the music you produce in your studio, you should call your Sweetwater Sales Engineer for your special Sweetwater price on a Sonicomp 1 or 2. You already know all about them, what you need is to hear them in your own studio. Then, like me, you’ll be a believer in the Oram magic.

- M. Rief