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Altec Lansing Altec 436B

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Page last updated Aug 10, 2025

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Unleash the power of vintage sound with the Altec 436B, a renowned effects processor that has stood the test of time. Originally designed in the 1960s, this compressor-limiter is cherished by audio engineers for its classic tube-driven warmth and its unique character, making it a staple in both professional and home studios. The Altec 436B's all-tube design provides a rich, warm sound that can infuse any recording with a touch of nostalgia while maintaining a high degree of control over the dynamic range.

The 436B excels in its ability to smooth out audio signals, making it an indispensable tool for vocal processing, enhancing drum sounds, or adding punch to a bass line. Its simple yet effective controls make it easy to dial in just the right amount of compression, whether you're aiming for subtle enhancement or a more pronounced effect.

Ideal for anyone looking to add a genuine vintage touch to their recordings, the Altec 436B combines historical charm with practical functionality. Its status as a classic piece of gear is further cemented by its robust build and reliable performance, ensuring it continues to be a favorite among audio purists and collectors alike.

Key Features:

Tube-driven compression for warm, vintage sound
Simple user interface with easy-to-use controls
Effective for vocal processing, drum enhancement, and bass punch
Originally designed in the 1960s, offering classic sound character
Highly regarded by audio engineers for its distinct tonal quality

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The Guitologist

The Beatles' Abbey Road SECRET WEAPON - 1960s ALTEC 438A Compressor Preamp Mods (436B RS124)

The Guitologist

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Guy Berryman

Bassist, Music Producer

Coldplay

Verified via Soundonsound

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."