Spectra 1964 Model V610 Complimiter

The Model V610 is a major improvement on the 610 Complimiter, now 45 years after it’s original release. The V610 has high resolution detented controls, as well as lower distortion, noise, and a +24dBu output. For tracking, mix buss, and mastering applications.

First introduced in 1969, the 601 module found its initial application in Spectra Sonics’ groundbreaking 610 Complimiter. This pioneering hardware offered the unique ability to operate both compressor and limiter functionalities either separately or simultaneously. Over the years, the 601 has earned its stripes as one of the most efficient, quiet, and adaptable analog modules in the professional audio landscape. Consequently, the 610 has achieved iconic status, joining the ranks of revered gear like the LA2A and 1176.

A Modern Twist on a Timeless Classic

Building upon the foundational success of the 1969-era 610 Complimiter, Spectra Sonics has reimagined this classic for contemporary studios. The reengineered 2-chassis unit sports a refreshed internal and external appearance while boasting lower distortion and noise levels. Enhanced with a +24dBu output and high-resolution detented controls, the revamped design offers ease of use across mastering, mix-buss, and tracking applications.

Spectra Sonics: A Legacy in Audio Engineering

Established in 1964 by engineer and aviator William G Dilley, Spectra Sonics initially produced audio gear tailored for broadcasting, recording studios, and filmmaking. Iconic creations like the 601 Compressor Limiter, 610 Complimiter, and the Spectra Sonics mixing console have made lasting impressions on the recording industry. In recognition of his contributions, Dilley was honored with a fellowship from the Audio Engineering Society in 1977.

What the Pros Say

• “I’m reluctant to let other mastering engineers in on the secret of how transformative the V610 truly is.” – Garrett Haines
• “These units sound immense! They played a key role in the latest Jason Isbell album!” – Dave Cobb
• “For years, the 610 has been my first choice for adding grit to drums, employing parallel compression, and other general ‘texture boosting’ tasks. Its pump and overdrive features make it perfect for such applications. However, what many may not realize is that it can also be incredibly clean and transparent when dialed in correctly. A versatile and priceless tool.” – Pete Weiss
• “Since 1993, they’ve been a staple in every project I’ve engineered and most I’ve mixed.” – Tchad Blake
• “I had a pair of 610 compressors in my rack for a long time, and I missed their unique stereo buss capabilities. I’m thrilled they’re back in my setup!” – Jack Douglas