Yes, must be so. Hainbach also uses the Boum in live settings.
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Been eyeing this one for a long time now. That tax return is coming… Seems like a solid option to glue everything together on the end of the master.
No, RNC and RNLA both have fast attacks. Any compressor set to 10:1 ratio or higher with a fast attack will limit.
It does, quite well in fact, as it enhances the bass rather than gets overwhelmed by it (which would make it react to heavily to it). Pay attention though, as it will distort instead of more traditional compressor artifacts “pump and suck” when overdoing it. You have to be able to control the level of what is going into it. Especially if you add in the one knob compressor, aka the “bloom” knob.
Sometimes I like the sound of just the saturation, without the one knob compressor. It still limits, but you can hit it harder without the unwanted artifacts.
When using the one knob compressor, you have to reduce the input level, the transformer gain, or a combination of the two. The good news is, this gives it a wide range of flavor when using it as a limiter.
When I had my RNC with HPF, I’d run a BBE with it, just to juice things up a bit amidst all the flattening, some times before the limiter, sometimes after.
With the Harlow, it does it all, and it never leaves the analog domain. Bogner makes another more full featured compressor pedal, the Lyndhurst. It has more control, but I have not had the opportunity to test it out, so I can’t report on its sound. I wonder if the Lyndhurst has less saturation capabilities since the Harlow is a “boost”.
These are the times I wish I had a retail job at a gear store. 
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Analog Heat does this too. Found the same result when the AH was deactivated.
Was looking at these a while ago but they’re quite rare and the used prices have skyrocketed over the past couple years.
Not sure if it matters, but normally stereo processors like neve etc would be subject to some sort of component matching for consistency between L/R channels 
Yep. I’ll have to adjust by ear and be extra mindful to minimize phase issues.
I plan to find the setting I want in mono first, and then activate the second with careful tweaks for stereo.
For studio stuff, I’ve just been using one unit and running the Left channel through it separately, followed by the Right.
It works for some pre-mastering flavor, for sure. Definitely makes bass lines pop in a unique way. And with this method there are no phase issues.
The Boum is definitely a candidate! Sounds great and seems like I’ll get both boost and coloring/saturation with it. This guy Hainbach really speaks warmly of it 
Anyone here who’s been using it?
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Yes but it still raises the volume according to release time and so you get gain fluctuations or uneven levelling. The compressor in OT does this, that’s why I can’t use it, besides from the fact that it so easily distorts.
My software limiter works fine at 1ms decay without ever raising the volume in between peaks (thresh+ceiling lowered with same value). So I’m still concerned that I’ll be having this behavior with these compressors.
Holy crap, that’s nice! Love what it’s doing there. Shame there’s no stereo version!
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I use RNLA at the end of my master and dig it. Chain is AHmk2, sometimes 3630 for classic SC, then RNLA as a brick wall with about 1-2db of reduction. Used with more reduction, medium attack, it can tighten drums up nicely.
You have to get a 1/4 balanced to unbalanced converter to use it after anything with balanced outs though. I use an ebtech hum eliminator and it sounds great.
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What are doing with AH?
Well I had talked myself out of the second Harlow, after some successful sessions running the Left and Right sides of premasters through one unit independently and then summing them back to stereo.
But a great deal on one popped up on Reverb so I had to act after considering how good the pair will sound on my own Octatrack MK2’s stereo outs. Looking forward to posting my findings on how fidley or not it is to run a stereo pair, matching by ear.
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BlockquoteYou have to get a 1/4 balanced to unbalanced converter to use it after anything with balanced outs though. I use an ebtech hum eliminator and it sounds great.
Seems to me one could simply use an unbalanced jack cable, or am I missing something?
If one is using AH mostly for saturation/warming/slight-to-moderate distortion on stereo outs, would a pair of these pedals be an adequate replacement? I know this is comparing apples to hubcaps, but allow me to pose the question. To be frank, I love my analog heat; it partners so well with digitone. I probably should be happy with AH, but this Bogner pedal is an interesting one, and I like that the controls are simplified (maybe too simple?).
Overall, this has been a really enjoyable thread to read. Lots of good info and rational discussion. Cheers.
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I don’t own an AH, only an Analog Drive, so I cannot say for certain.
However, a friend of mine has an Analog Heat that I may be able to borrow for more critical comparison / shoot-out.
I can say that transformer saturation is a different flavor, it saturates the lows and highs in a distinct way. And the added *actual compressor of the Bogner is very handy, though AH’s envelope follower looks capable of its own unique flavor of dynamic processing.
AH also has a more complete EQ/filter section. But the way the input level/gain/comp/and tilt EQ all work in tandem on the Bogner gives it a wide selection of sweet spots. The EQ can help you harness how much of the low end is getting saturated, and the gain staging can allow you to get a wider range of traditional compression out of the bloom knob.
Apples and hubcaps, certainly.
And there are other options for transformer saturation, like this used pair of GA PRE-73 MKII’s , these have transformers on both input and output. There’s a wide variance of color you can acheive with these and if you want to really go overboard into AH level distortion, add a passive attenuator to the output so that you can overdrive both the input and output transformers.
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Indeed. Unfortunately, as a cost saving measure FMR did this weird thing that allows input to function as an insert and return with a balanced jack so if you plugin a balanced cable it works that way as opposed to just being an input. They did it with the RNC too and it’s really just a pain. But anyways, can check out many other posts about this. Luckily the solution is pretty simple just need to unbalance lines properly. It is convenient if you use it as an insert only cause you just need a balanced cable as opposed to an insert cable, but if you want to add anything else in the chain, then you have the issue noted.
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Ah. I indeed remember being surprised - while on a live sound tech job - by an artist who wanted to plug in the RNC as insert with a balanced jack. Closer inspection proved it right.
So when using a mono jack cable I’d expect the output (ring) contact in the combined connector to get shorted to ground. This also grounds the separate output signal? I find that hard to grasp. Would be very bad design.
The AH is very capable, but sweet spots are narrow. Would be great to hear a shoot-out! Or know if you can get close to the Bognor. There’s a few options with AH starting with the Init preset. DIrt ((filter section) and driving/clipping the input when deactivated…as well as the clean boost.
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The separate output on the input ring goes to ground when using a TS jack, so not a problem. As long as you use unbalanced TS cables it works and sounds great.
That’s what I thought. Thanks.