Has anyone got the AML 2254's?

I built a pair when they first became available and love them. They are old school : thick, syrupy, and gooey. With 3 transformers each, they impart a silky smooth sound and I think help most of today's fast transient stuff. You have to be happy with the time constraints or modify. His assembled 500 version has fast/slow attack, whereas his 2254a kits are true to the originals with fixed attack. True to the originals. Recovery on the comp section is like the original, fastest is 400 ms... many had the originals modded for faster recovery. Haven't tried modding yet, not sure what is involved, but that would be beneficial. I still give these a 10!

Huh?  Actually, they are quite a bargain - especially against vintage 2254's....

Compared to most 500-series modules, they're expensive and eat up 3 slots for only processing one channel.  Most modern dudes with lunchboxes are bedroom producers who aren't familiar with vintage neve stuff, other than "1073", and they only want to pay $600 for those Rupert Neve single-slot modules from sweetwater. 

Tell you what Doc ( oh if only you could write a script) you pay I'll build !

I've had my eye on this build for a while, too. Wonder how it sounds for vox and bass... Don't think I can justify the cost of doing a stereo build for close to 2k without variable attack times

I don't know anyone who's modded these, but being a time mod it's probably a capacitor change or two. I know it was a pretty common mod to the originals. Colin's 54F50 has a fast/slow attack switch and internal jumpers for different timings. But even without those built in mods, the rack mount is that classic Neve sound. By the way, I need to correct myself from my original post. It has FOUR transformers per unit. As you may know, this is a diode bridge design, so it drops signal 40 db, does its compression thing, and then boosts back up. These are spectacularly quiet for this design (probably quieter than the original Neve). Therefore it has input, interstage, and output transformers, helping lend their smooth buttery tone to the unit. All Carnhills by the way!

Because of the fixed attack, and rather slow release of the compressor, I find myself using the lower ratios mostly. I've used it on vocals, bass, acoustic guitar, drum buss, and mix buss with great results. It is old school, run your mix through it, and you are listening to FM radio, if you know what I mean. I also like it to smooth out the drum buss for a less intrusive smoother percussion sound. Those 4 Carnhills really help smooth out those transients when that is what you want to do.

I also like to run stuff through it with negligible compression when I want a little more syrup. When using the comp/limiter sections (they are separate and can be controlled individually) I find myself using the compressor more than the limiter.

If you want me to run something through it, PM me and I'll get you an email to mail something. I'll post some pictures in another post.

Nice. I would like to build a pair at some point.

..yup, 4 transformers, won´t find these when you open up the one slot AMS Neve 2264A compressor

Thanks Rob & stribor1. Much appreciated!

bp

Wonder how these compare to the BAE 10DC.

The BAE has variable attack, 2 faster and 2 auto release options but not 1.5 on compressor section, 10:1 ratio, and there's an option now with hpf sidechain.

But these kind of compressors sound best taking off like 1-3db on the meter or they get too grabby. And my general feeling is that overuse of hpf even on more transparent compressors can lead to poorly balanced buses.

So the only thing I would really miss from 10DC is the 10 and 20ms attack options. But the AML 500 series has a slow attack 25ms in addition to the 5ms.