<h1>Daking FET III Stereo Compressor</h1><i>
Stereo Daking FET Compressor with Variable control set, built in variable HP filter in the Sidechain, variable stereo linking, back lit VU meters, Auto release modes, and outboard power supply.</i><br /><br />


 Daking FET III is a dual channel limiter from Geoff Daking, built in the US with the same audio path and detector circuits as the highly successful single channel Daking FET II limiter. The FET III compressor circuitry and gain stages are all discrete and fully Class “A” with sound quality that will be at the very top of the scale. The previous single channel FET II was known for its speed, high performance and its unique ability to sound great on an extraordinary variety of sources. The FET III will equal this benchmark plus add several unique features to improve user control.
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FET II includes new variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF’s tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the units potential application set and the ability of the user to set this new behavior “on the fly”.<br /><br />
Variable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees. The Stereo Link is continuously variable from 0 to ∞.<br /><br />
All controls except “Ratio” are pots. The new variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking product line.<br /><br />
The FET II’s relied on control voltage summing for the stereo linking. Because the FET III is two independent units in one box, it uses audio summing, which is much more accurate.<br /><br />
The Daking FET III uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not “color” the sound. (A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly.) The common mode rejection in FET III is equal to that of FET II. The FET III output level is +24 while the FET II can be as high as +30.<br /><br />
<h3>Daking FET III Features</h3>
<ul>
	<li>Ultra Flexible and Easy to Use</li>
	<li>Fast Transparent Compression</li>
	<li>Variable Filter in the Detector Circuit</li>
	<li>High Headroom +24 In and Out</li>
	<li>Easy to Read Illuminated VU Meters</li>
	<li>Continuously Variable Stereo Linking</li>
	<li>Attack 250uS to 64MS</li>
	<li>Release .5 Sec to Auto Dual Time Constant</li>
	<li>Ratios from 1.5:1 to 20:1</li>
</ul><br /><h3>Who’s using Daking?</h3>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br /><br />"If you're looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!" — Butch Vig<br /><br /><h3>About Daking Audio:</h3>Geoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.