Great range in simple controls. Sweet preamp sounds. Great capacity for high-end detail. Keeley Compressor Mini robertkeeley. I fall in and out of love with compressors all the time. From one night to another, I might be down on my knees, thanking my comp for saving my life and my sloppy picking performance. The morning after is always awkward. It may not be the most extreme compressor in the world or the most versatile.

But it walks the razor-thin line between transparent and potent with aplomb and sounds alive without being overbearing or oppressive. Thankfully, he has a knack for knowing how to set those parameters just right. Keeley also designed the circuit to be especially lively for a comp with so few controls. For one thing, the Compressor Mini uses parallel compression, which allows dry signal to pass before summing at the output, adding detail and presence to softer playing while louder transients are squished more aggressively.

The pedal sounds more balanced and alive for its inclusion. The Compressor Mini, however, is almost startlingly quiet. Even at the highest preamp gain and threshold levels, the Keeley adds little perceptible hiss.

The low noise floor makes it easier to use the level control aggressively, and at minimum threshold levels, the Keeley is a great near-clean boost. And there are lots of near-clean boost colors that add meat to jangly tones without sullying the chime.

Rickenbacker and Telecaster players take note! Humbucker players, too, will enjoy the extra headroom in the level control. Most settings north of noon lend a fat but tasteful bump in the low-mid zone that make the preamp sound extra sweet, muscular, and growly. The compression effect itself is a delight. And in spite of the extra top end generated by the tone-recovery circuit and parallel compression scheme, you still hear perceptible squish. The extra weight and warm sustain that even modest level and compression threshold levels add to thin first-string output is significant.

And it does a cracking job of highlighting string detail in complex chords. For lots of players in many musical situations, such qualities will be well worth any tradeoff in dynamics. The preamp alone sounds lovely and generates killer boost tones. In traditional pedal-compression settings, like country picking and Byrds-style jangle, it excels. And its low noise floor makes it an ideal pairing for high-gain pedals in need of smoothing or busy pedalboards with lots of noisy gain stages.

At just 20 bucks less than the Compressor Plus, some players may want to pop for the bigger, more feature-rich alternative. Rig Rundowns. Riff Rundowns. Why I Built This. The Big 5. Runnin' With The Dweezil. Wong Notes. Rig Rundown Podcast. Bass Gear. Gear Awards. Featured Listing. Buy Used. Avid Eleven Rack.

Preferred Seller. Very Good. Add to Cart Make an Offer. Quick Responder. It looks sort of hopeless. A friend recently hit this. Here was his solution: The Eleven Rack editor has a software call hard coded into the installer for an old version of iLok, which it installs just before it requests a reboot.

If you reboot, the old software will not allow your computer to boot. Install the Eleven Rack editor first and at the end of the installation program skip the reboot option. Then install the new version of iLok on the system, which removes the old iLok. Then reboot. Also, if you have an Eleven Rack Editor that has started crashing while operating, you might try this fix as well. I'm giving up. I went through this sequence 3 or 4 times. Pace version 5. It may also have something to do with my Avast anti-virus detecting "IDP.

Against my more rational inclinations I made an exception for it, but still can't get it to work. I think that's about enough time wasted on this. Uninstalled Pace and Eleven rack Editor. If I ever decide to get into re-amping I might install the Eleven Rack driver. Wasn't there a midi patch librarian called eleven hack? As an audio interface, the Eleven Rack has a decent mic preamp built in and is capable of recording up to eight simultaneous channels of audio, although for recording guitar you'd perhaps only really be interested in recording two tracks to your DAW - the Eleven Rack outputs a mono dry guitar track simultaneously with a stereo track complete with all of the onboard processing.

This gives plenty of scope later should you wish to change the sound during mixing, because the dry track can be sent back to the Eleven Rack and re-recorded with a different sound.

The settings can be re-loaded back into the Eleven Rack directly from Pro Tools - extremely useful if you need to re-record some of a guitar part at a later date or just want to exactly duplicate the sound.

There's not the space here to give a full review of the capabilities of the Pro Tools 10 software itself but it will put the means at your disposal to compose, record, edit, and mix your music. As well as audio recording you get a set of virtual instruments and many tools to manipulate sound including the ability to adjust pitch and time on the fly with elastic pitch and elastic time.

Such a tidy range of amp and effects in a rackmount unit with multiple outputs and a computer connection makes the Eleven Rack an ideal studio tool for anyone who records guitar regularly and needs a wide range of tones, but it easily adapts to stage use so that you can link it up to a power amp and have your exact recorded tones on stage. MusicRadar The No.

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