Source Audio Introduces the Atlas Compressor

The Atlas Compressor offers up an extensive library of compression options and allows for transformation into a bass specific compression machine.



Straight out of the box, Atlas delivers six different styles of compression, ranging from classic stompbox compressors like the now-discontinued Diamond Optical Compressor to high-end rack units such as the snappy 1176 compressor and the smooth and gentle LA2A optical compressor. Atlas also features advanced dual-band compression, which provides an independent set of controls for both the high and low frequencies. Each compression engine has onboard controls for Threshold, Ratio, Attack, Release, Output, Tone, and Blend, allowing for fine-tuned control over the compact One Series hardware.

Features

  • 6 Types of Compression: The Atlas offers many different styles of compression with sounds inspired by studio rack gear and classic effects pedals.
  • LA2A Optical Compression: A faithful recreation of an electro luminescent panel combined with a photo resistor and the resulting warm and smooth compression that has been the standard in studios since the 1950s.
  • 1176 Feedback FET Compression: Based on the solid state FET compressor known for its full body and super-fast attack.
  • LED Optical Compressor: Inspired by pedals that work on a similar concept as the LA2A, but swap the electro luminescent panel for an LED and a quicker, dirtier response.
  • Dual Compressors: Use Atlas’ dual compressors in a variety of ways: in Series, Parallel, or Band Split mode, which provides a separate set of controls for both high and low frequencies.
  • Studio Level Compression Controls: Access all the essential compression parameters including Feedback, Ratio, Attack, Release, Makeup Gain, Mix, and Tone, either with the pedal’s knobs or the Neuro Editor.
  • Special Bass Mode: With the push of a button, quickly convert Atlas to a special Bass Mode with compressor engines specifically optimized for bass.
  • Auto Makeup Gain: Dial in sounds quickly. Atlas automatically increases or decreases the Makeup Gain depending on the amount of compression.

First Look: Source Audio Atlas Compressor

John Bohlinger

Scores of superb, deep compression emulations in a super-easy-to-use format.



A few simple chords is all it takes.

Beginner

Beginner

  • Learn to play a 12-bar blues, in three different keys, using one shape.
  • Study an assortment of strumming and picking patterns.
  • Gain a basic understanding of the 12-bar blues form.
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As usual, there is more to this lesson than the title implies. We will be working with one chord shape at a time, but over the course of the lesson we’ll study three different shapes. The final example in this lesson incorporates all three shapes to demonstrate how a few basic ideas can provide us with infinite possibilities.

It is important to know that for every chord name in this lesson there are countless shapes—also known as fingerings or voicings—available. For this lesson, I chose what I consider to be the most practical and flexible shapes.

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See a sampling of picks used by famous guitarists over the years.

Marty Stuart

Submit your own artist pick collections to rebecca@premierguitar.com for inclusion in a future gallery.

My years-long search for the “right” Bigsby-outfitted box finally paid off. Now how do I make this sumbitch work in my band?

Considering the amount of time I’ve spent (here and elsewhere) talking about and lusting after Gretsch hollowbody guitars, it’s taken me a remarkably long time to end up with a big Bigsby-outfitted box I truly love. High-end Gretsches are pricey enough that, for a long time, I just couldn’t swing it. Years ago I had an Electromatic for a while, and it looked and played lovely, but didn’t have the open, blooming acoustic resonance I hoped for. A while later, I reviewed the stellar Players Edition Broadkaster semi-hollow, and it was so great in so many ways that I set my sights on it, eventually got one, and adore it to this day. Yet the full-hollowbody lust remained.

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