ALESIS NanoCompressor Reference Read more about nanocompressor, input, compression, output, manual and mixer. Description. The NanoCompressor is “the other, other” compressor from Alesis. It’s a 1/3U stereo compressor ideal for smashing drums and nuking snares, also. The Alesis NanoCompressor was launched in as part of the Nano range of 1/3-rack-space project studio devices. As far as I can tell, it’s a.

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The incorporates two of these compressors, both with its own noise gate, whereas the Nano is just a single one, without a gate. So, there should at least be a laudable standard of quality in this simple stereo unit The example I’m looking at was manufactured in December I relate the following only to this particular example, and my assessment should not be taken in any wider sense.

Like all retrospectives on Planet Botch, there is no commercial influence involved.

Alesis NanoCompressor | Planet Botch

So, the NanoCompressor is a tiny box which is most unlikely ever to be accused of taking up too much room in a studio. On the front, the user controls are as follows The Threshold sets the volume at which compression will kick in.

The further to the left you turn this knob, the lower the volume at which compression will kick in, and accordingly the more compressed the sound will be — subject to the setting of other controls. The Ratio controls the actual amount of compression — how much the sound is squashed. But these controls work interactively, so once again, the result as it sounds to the listener will depend on the setting of the other dials.


With the Ratio knob set all the way to the left, there will be no compression at all. With it set all the way to the right, the sound will potentially be heavily squashed — subject to the setting of the other controls. Attack determines how quickly the compression kicks in after the strike of a note.

With the Attack knob set all the way to the left, the effect is introduced almost immediately. With it set all the way to the right, the initial strike of the note is allowed through without compression.

Release determines how quickly the compression dies away after the strike of the note. All the way left, only the initial attack of the sound is compressed. All the way right, the compression remains active for three seconds after the initial attack, before fading away to leave the natural sound.

Finally, the Output allows compensation for any drop or rise in signal level once the nanocompreesor settings have been determined. Hard Knee just means the sound is strictly governed by the Threshold setting and will be immediately compressed once volume raises above that threshold. In Peak mode, the NanoCompressor performs as a strict limiter with a ceiling on volume set by the Threshold level.


This prevents any loud transients in the playing from exceeding a desired maximum level, nanocompreseor protecting recordings against unwanted distortion.

RMS mode, however, disables the Attack and Release controls, and sets its own times. How does it sound?

In fact personality is what I feel the NanoCompressor lacks. For that reason I actually use the compressor in my Boss ME-5 in preference to the Nano for recording most instruments in my home studio I use the for vocals. What Alesis have done as regards pricing on this range has to be admired.

1996 Alesis NanoCompressor

The Alesis is a much more powerful device than the NanoCompressor, and is, I believe, easily worth the extra money. More Guitar Reviews and Retrospectives. Newer Post Older Post Home.