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Lindell Audio 7X-500 FET Compressor/Limiter Reviews

3.5 stars based on 8 customer reviews
Questions about the Lindell Audio 7X-500 FET Compressor/Limiter?

Questions about the Lindell Audio 7X-500 FET Compressor/Limiter?

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  • nick
    from nj May 2, 2014Music Background:
    musician, engineer,

    More than just an affordable compressor

    This isn't just a good comp for the price, it's a good comp period. I own several more expensive compressors icluding a real 1176. This is every bit as usable and vibey. depending on how you gian stage it, it can be pretty clean and transparant, or just a complete over the top crush fest. Build quality is fantastic, and all the switches and knobs feel very solid. A soon as I have the money, I'm going to purchase more for mixing.

    from DIVIDE, COLORADO July 25, 2013Music Background:

    lindell 7x 500 compressor


  • Ed
    from Earth July 19, 2016Music Background:
    Always learning

    Smooth parallel compression in the 500 series format

    I picked up a pair of these compressors and put it after a pair of Rupert Neve 511 preamps and before the Rupert Neve 551 inductor EQ.

    The only feature missing on this compressor is a link switch for true, stereo compression. But because it has four 3-way switches (attack, release, ratio, high-pass filter) you really only need to line up 3 knobs: the input, output and blend. The input knob sets the threshold. So the more you turn up the input, the lower the threshold.

    The blend knob was another feature that sold me on this compressor. Sometimes if you squash the signal too much, itís nice to have the ability to bring back the non-compressed signal. It also seemed that, for the price, the 7x had more features than compressors twice its' price.

    Other than the missing link switch, these compressor sound real smooth. The LED is nice and bright.

  • George cain
    from Augusta, ga October 22, 2013Music Background:
    Musician, home recording studio

    Good unit

    Just got it, played with it using Gibson acoustic guitar. Condenser mic into bae 1073 then into the 7x. Running thru unit doesn't degrade the sound. That's first thing I check. The 100 Hz side chain is really useful, and mix knob is great....I don't feel it adds any mojo, just clean compression....my micpres do the mojo...time will tell hiw reliable it is.
    I wanted to get bac 500, but gave this a shot. So think this is great for adding a bit of parrallel compression while tracking. Then do more if needed with uad plugins.

  • Gary Brandt
    from Wisconsin June 24, 2015Music Background:
    47 years Pro-Audio music recording

    Nice but needs changes

    I went looking for a cheap 500 series compressor for my rack and found this Swedish unit : 7X-500

    After tests last night listening I had decided to return it until I swapped the two main in & out amp chips with Burr Brown OPA 2107AP. The unit came to life for me.

    Sweetwater is selling them for under $350 bucks. (assembled in China)

    There are some things I would prefer different though, like,
    The filters are across the limiter side and not overall output seems very subtle,
    The 100:1 should be 20:1-my opinion,
    There is a gain control coupled to the limiter input pot which I feel should be just threshold but all in all very workable with the mix wet dry pot for perfect vocal compression.

    The output gain pot should be on the final blend control output of unit and not the limiter only.
    It also needs a clip light because the GR meter does not switch to OP level.

    Lindell said it resembled a UREI 1176, I would say NOT but with the chip change from 5532's to Burr Brown it's quite smooth, clear and usable for vocals which is what I care most about.

    Enjoy. :-)

    P.S. (The chip changes add about 35 bucks to the price and are sold on eBay)

  • Joshua Valencia
    from United States January 17, 2013Music Background:
    Recording/Mixing Engineer, Vocalist, Guitar Player

    7X-50: Lots of BANG for your $...but know your limits

    This thing is a very solid comp. Its exceptional at bringing out detail on snares. It has a deep characteristic to it as well. You really hear the depth of the shell on the snare if that makes sense. It is also has WAY more out put than most other 500 series comps. The only shortcoming I can immediately hear is the muddiness it creates with cymbals when using it for parallel drum compression. Out of the current offering I put it only behind the retro doublewide. The retro has that added clarity when working with a drum group that I dont really get with the Lindell, probably due to this box being FET and the Doublewide being tube. All in all its an amazing module at an insane price. Just know when to use it.

  • Doc Goody
    from Ashburn January 2, 2014Music Background:
    Musician, Recording Engineer, Mixer, Sound wizard


    For the money it's not a bad comp. It's not bad on Snare, Kick, Bass guitar, but overall I wonder if it's just taking up a slot in my Lunchbox.

    I have a couple of high end outboard comps, but this was my first 500 series comp and it's nothing to phone home about.

    I find it usable on Kick, Snare and bass guitar during mixing, but I wouldn't track with it. The Mix knob is helpful as well as the sidechain filter.

    If I was filling up another lunchbox I would look elsewhere.

  • Roark
    from Atlanta, GA April 22, 2013Music Background:
    Professional Recording Engineer, Producer, Guitarist

    A mediocre entry-level 500 compressor

    I purchased this for my newly acquired 500 rig, and found that it wasn't that impressive. It worked ok, but I wasn't happy with the sound of the compression, even at low levels. I bought it because I needed a 500-series compressor but didn't want to spend a lot of money. I guess you get what you pay for.

    It worked ok for the first week or so I had it, although as I mentioned, I didn't like the sound of it. However, after the first 2 weeks, the input knob came loose, and eventually fell off. I returned it to sweetwater and exchanged it for the Grace 501, and I am MUCH happier with that.


  • Mitch Gallagher

    Swedish record producer Tobias Lindell is well known for his dedication to great sound. When he launched Lindell Audio in 2010, his goal was to create equipment that suited his own working methods and satisfied his need for quality. Now he has brought that same dedication to the 500 Series format with three modules: the 6X-500 mic pre/EQ, the 7X-500 FET compressor, and the PEX-500 Pultec-style EQ. I had the opportunity to load all three up in an API lunchbox and take them for a spin.

    The 7X-500 is Lindell's take on classic 1176-style compression, with all the expected features and controls. However, two additional features take it up a notch: a mix control for parallel compression and a sidechain with a highpass filter. The 7X-500 excels anywhere you'd use an 1176. I found the 7X-500 is especially awesome on drums, guitars, and vocals, but it is a great all-around compressor.

    The PEX-500 is a Pultec-style EQ with both low and high bands, each with boost and cut controls. Being able to boost and cut in the same band allows you to create complex EQ curves, but the real power of the PEX-500 lies in the fat, punchy bottom and creamy top end it can produce. I used it on kick drum, snare drum, electric bass, and vocals -- everything simply sounded better running through the PEX-500.

    The 6X-500 preamp/EQ offers a thick transformer-coupled sound with fat low end and smooth top end. The bonus is the inclusion of two boost-only bands of Pultec-style EQ, each with three frequency selections. There's 65dB of gain on tap, plus 48-volt phantom power, polarity reverse, and EQ bypass switches. This is a great-sounding preamp.

    The Lindell Audio 500 Series modules offer incredible value -- at just $299.99 each, they're no-brainers for building a hybrid studio based around a DAW and a mixer or summing box. Check these out -- great audio awaits!

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