Frequently Asked Questions

Why would I choose an Audessence product when there are so many other brands available?
Quite simply, we believe our products are the best available, and are offered at very attractive price points.


Here are some of the features we believe are required to do a good job of processing broadcast and entertainment audio:

1. Power to control level, dynamic range and peaks – all precisely as required.

2. Huge capture range and an uncanny knack of ‘staying in the sweet spot’

3. No unnecessary degradation of the audio

4. Reliability of the programme path is paramount

5. User-friendly interface and ergonomics

Still thinking about another box? Check if it does all of this:

Advanced intelligent AGC with gating
Peak limit with gating
HF limit
Text-based remote for easy integration with playout systems

All processing at 48 bits in the digital domain
Native processing at 88.2 or 96kHz
Asynchronous sample rate conversions for ‘All-44.1’ systems are gone
Zero overshoot ‘no clipping’ peak limiter
Seamless integration of functions

Relay bypass of analogue and digital paths if power fails
Bright, always-on metering
Straightforward setup
Factory presets
Tamper-proof front panel
PC control via USB (and RS-232, except Podblaster)
NEW! Easy-Mode GUI makes setup a snap, even for beginners!
Even with the most painstaking research with catalogues and internet, you’ll not find another product that ticks all the boxes for broadcast audio like we do! And especially not at such attractive price points…

What is so special about the ALPS processing algorithm? I’ve heard that some other devices use multi-band techniques to reduce bass pumping. Isn’t a multi-band unit more powerful and better-sounding than a wide-band one like ALPS?
No, although it depends on what you are trying to achieve. Multi-band techniques can reduce bass pumping of the rest of the programme, but they introduce other risks; skewing the spectral balance of the programme audibly and objectionably; causing audible phasing effects; building up a ‘busy’, dense, fatiguing sound; impairing the audio by passing it through many processing subroutines; and most importantly – exacerbating the audio quality limitations of low-bit-rate systems. Typically, multi-band techniques are used in a radio airchain processor, and there is absolutely no need to do that process twice!


ALPS has been designed to keep levels under control, but without aiming for a synthetic, radio-processed sound, instead keeping the programme close to how the producers intended it to sound. A sonic signature, if required, can be added later without fear that the two processors will ‘fight each other’.

We have developed a range of techniques that address the problems of wideband. In a leveller there are other ways than multiband to get around the bass pumping problem; and we strongly encourage you to audition ALPS and make up your own mind!

Why shouldn’t I just hang a cheap analogue general-purpose compressor-limiter on my programme output and leave it at that?
General purpose compressor-limiters have three main flaws for professional programme levelling and protection limiting:

1.Their audible effect on the programme level is almost always ineffective and inconsistent; for example failing to bring up low-level passages adequately; in some cases audibly ramping the gain; continuously pumping and clipping when the desk output gets too high. Their ‘sweet spot’ is just not big enough to take account of typical programme dynamics!

2. They are not suitable for direct integration into a digital plant, for both obvious and subtle reasons. Obviously, they often will not have the correct interfaces for plugging into the digital plant in the first place, necessitating outboard converters. On a more subtle level, they almost always employ brute-force clippers as part of the peak limiter: when this clipped signal is digitised, supersonic clipping products may give rise to unpleasant aliasing and / or digital overloads; in short, poor quality sound.

3. Such devices can’t have their controls locked out! This leaves even a carefully arrived-at compromise setting prone to accidental change or unauthorised tampering.

ALPS, on the other hand:

4. Uses carefully integrated processing blocks to deliver powerful yet unobtrusive level control.

5. Is designed for digital from the ground up, with all the right interfaces built-in, correct limiting algorithms for perfect sound, and no compromises due to conversion issues…

6. Can be set up easily and then locked; for consistently excellent results, month after month, year after year.

I’ve had problems with getting adequate product support and technical help from other companies in the past. What level of support will Audessence offer?

Audessence fully recognises the need for proper support, and we will make sure our customers and dealers get all the help and other support they need to do their jobs efficiently.

All professional products have a lengthy three year return-to-base warranty, and have been designed on a fully modular basis.

Dealers can participate in our low cost module and support unit stock programme so that repairs, if ever needed, can speedily be carried out anywhere in the world and without requiring a high level of skill.

If you ever need support direct from Audessence, email us (contact details are here).