What's Your Favorite Compressor, and Why?

[Anderton]

It can be hardware or software. The reason I ask is because some people are VERY particular about compressors. I do hear differences - for example, an optical compressor sounds different from a FET one - but overall, it seems to me compressors have more similarities than differences. There are hundreds of compressors on the market. Am I missing something by not spending more time checking them all out? Or will I end up just using three or four different technologies anyway, and calling it good?

[KuruPrionz]

Currently, my favorite is an ART Pro VLA II, hardware.

 

Why?

 

I read in several forums that some folks really like the ART Levelar compressor and you can pick one up for $35 or so. I bought one and liked the sound of the compression but wanted more control over the parameters.

The Pro VLA II offers the control options I wanted and still has the Vactrol sound, optical compressor.

 

I randomly plugged my Peavey Fury bass with Brite Flats and an EMG P-A (Alnico) pickup straight into the Pro VLA and with a bit of tweaking I got one of the best bass tones I've had so far, it felt good to play and the noise level was so low it isn't worth mentioning. I haven't tried it on other things but anything that makes my bass sound awesome is a winner - it's a good sounding bass but the devil's in the details.

 

Prior experience is with an FMR RNC, a great compressor if you don't want anybody to know that you are compressing. A good unit but it never made me smile and I found the format a bit annoying. You are getting one independent compressor in the A channel and a second compressor that will only work if the first one is plugged in and running. Makes it easy to side chain but it's hard to hear it working, too perfect.

 

I also have a JBL M712 dual mono (linkable) compressor that I haven't used enough to comment on. Was what I call a "victim auction" on eBay. Somebody starts too low and has a poor choice of end time so it goes cheap to a buzzard (me).

 

I've played around a bit with plugins, haven't got much of an opinion on those yet. I have a Manley Mastering Compressor plugin that looks interesting but it is packed with knobs, not my favorite for plugins.

 

This will be a fun thread to keep an eye on!

[NewImprov]

I invested in the Universal Audio powered plug-in system very early on, back in the days of the UAD-1 card. I've used their 1176 emulation on nearly every mixing mixing job I've done ever since, eventually upgrading the the UAD-2 and their 1176 collection. I have many other compressor plugins, but the UAD 1176 is generally what I go to first, and it nearly always works. It's not transparent, there is definitely rough quality that it adds to the sound that seems to make things fit into a mix better, at least to my ears.

 

I've worked at a few studios that have had hardware 1176's or clones, and because of using the plugin version so much, I was able to get useful results from the hardware pretty quickly. I intend to get 1 or 2 hardware 1176-style compressors for the studio, currently the Warm Audio boxes are looking pretty appealing for price/performance.

 

I also use the UAD LA-2A emulations a lot, for warmer/smoother compression, and their SSL bus compressors as well, mostly on drum overheads and on the stereo master, for glue. I like the compressors built into Logic quite a bit as well, if I didn't have the UAD, I'd probably be happy with using them exclusively.

[Anderton]

Currently, my favorite is an ART Pro VLA II, hardware.

 

Believe me, you are not alone.

 

Prior experience is with an FMR RNC, a great compressor if you don't want anybody to know that you are compressing. A good unit but it never made me smile and I found the format a bit annoying. You are getting one independent compressor in the A channel and a second compressor that will only work if the first one is plugged in and running. Makes it easy to side chain but it's hard to hear it working, too perfect.

 

I like using two compressors in series, set for very subtle settings, so you can't hear them working. Not all the time, of course...

 

This will be a fun thread to keep an eye on!

 

The reason I posted this is I'm not that big a fan of compressors, I've been using limiters more and more, as well as trying to retain dynamic range. When I want to mess up the sound, I tend to favor saturation more than compression.

 

So far I've been pretty intrigued by the compressor in the Waves SSL EV2. I'm not an SSL fetishist by any means, but it sounds to me like they've done some new kind of modelling mojo under the hood compared to their previous SSL channel strip. I asked if they were doing a variation on oversampling, but they apparently don't like to talk too much about tech details.

[Anderton]

I invested in the Universal Audio powered plug-in system very early on, back in the days of the UAD-1 card.

 

Same here. I think they were the first company to make plug-ins where people really couldn't tell the difference between the analog version being modelled and the digital equivalent. I attribute part of that to being able to throw machine cycles at it, instead of cutting back on processing power to accommodate native hosts. I attribute the rest to they know what they're doing

[KuruPrionz]

 

Prior experience is with an FMR RNC, a great compressor if you don't want anybody to know that you are compressing. A good unit but it never made me smile and I found the format a bit annoying. You are getting one independent compressor in the A channel and a second compressor that will only work if the first one is plugged in and running. Makes it easy to side chain but it's hard to hear it working, too perfect.

 

I like using two compressors in series, set for very subtle settings, so you can't hear them working. Not all the time, of course...

 

Maybe I wasn't clear. There is one single set of dual-ganged controls, digitally calibrated so that both compressors sound identical, always. You cannot adjust them independently, there isn't a way to do that. In one sense that makes the RNC the ideal bargain compressor for mastering down to stereo. On the other hand, you might want 2 subtle but slightly different compression sounds with compressors in series, I can't think of a reason why I would want the second compressor to sound identical to the first one.

[Theo Verelst]

When a compressor starts it's attack portion of the response curve which drives the VCA, there'a a following of the input signal combined with the attack response setting, this curve and signal level following behavior is characteristic for a compressor, and in repeated operation, the second (same settings) compressor will "see" another input signal.

 

There's overshoot when the attack setting isn't perfectly zero ms, and that has a lot of digital (nasty) effects in most cases, and determining the point in the input signal where the decay curve is set in is also a characteristic of a type of compressor, where the input signal matters for how it will respond. Repeating compressors isn't the same as doubling the compression level.

 

I don't like either analog or digital compressors much, unless they are used in a proper mix situation. In a good stereo mix, you want to pre meditate the air wave compression happening through the speakers, which in essence can lead to compressing (or even expanding) the signal driving the speakers which in turn drive the air in a certain specific way. That's a pretty accurate and very signal (and PA system) dependent matter, and when combined with ruling the reflections coming through the listening space takes you in professional Lexicon territory mostly.

 

Analogue compressors in general will distort the signal because every gain setting element electronically to some extend adds distortion, because of the lack of feedback over the gain changing element. Digital compressors suffer logically from both main problems almost all digital effects unfortunately suffer from unless they are very specifically tuned (normal users will not stumble on those tunings ever), namely the incorrect signal integration for filters and dynamic signal elements and the (utter) lack of preparation of the output signal for normal Digital to Analog Converters limited signal reconstruction (oversampling) filters.

 

It's fun to play with a musical compressor and make your voice louder or sound a certain way but reaching that destination of making the PA output sound even, natural , loudness prepared and good sounding with varying microphone techniques is near impossible so usually IMO ends with not so great compromise. Digital is easier to reproduce and doesn't have the same distortion issue as analogue compressors, but to me most sound pretty horrible. The (unfortunately discontinued) Lexicon MX2/3/400 has a built in compressor simulation that can work relatively neutral. My complicated studio signal path approaches can in principle compensate to a certain degree for sampling problems so in principle I could use a calf/ladspa or other digital compressor and make the main problems go away, even for hard limiting settings. What then remains is mix logic and taste, both not easy to discuss..

 

Theo V

[KuruPrionz]

I thought of another tool I have that is not technically a compressor but provides a unique way to control dynamics. Eventide Physion plugin allows one to separate the transient from the tone and adjust either/both separately.

 

Theo mentions above that there can be overshoot when the attack setting isn't perfectly zero, which is all the time with most compressors. Physion allows control over the total transient response, you can increase or decrease it, you can affect it separately from the tone and you can affect the entire transient. Simply attenuating the transient could compress a snare drum signal without artifacts.

[Anderton]

Repeating compressors isn't the same as doubling the compression level.

 

Yes, I think that's the point of the RNC. I often place two compressors in series with very subtle ratios to "round off" rather than compress dynamics. You can't tell audibly that the signal is being compressed until you bypass them. In that situation, I usually do adjust them for the same settings (i.e., tie the parameters to Studio One's control panel so one knob changes the same compressor on both parameters.

 

But as KuruPrionz points out, that makes the RNC a one-trick pony because it doesn't have the flexibility to use the two compressors independently.

[Anderton]

I thought of another tool I have that is not technically a compressor but provides a unique way to control dynamics. Eventide Physion plugin allows one to separate the transient from the tone and adjust either/both separately.

 

I also find transient shapers helpful. Although most people use them to boost transients, I often end up reducing transients.

[Anderton]

Oh, and here's a fun tip: I usually include the intended amount of gain reduction in a preset's name, for example, Vocal -6. That means I designed the preset so it sounds optimum when the maximum amount of gain reduction is -6. Although I try to maintain consistent levels when going into presets, that's not always possible. This naming convention gives me a target for how much to reduce or increase the compressor's input level if I want the preset to act as expected.

[KuruPrionz]

I thought of another tool I have that is not technically a compressor but provides a unique way to control dynamics. Eventide Physion plugin allows one to separate the transient from the tone and adjust either/both separately.

 

I also find transient shapers helpful. Although most people use them to boost transients, I often end up reducing transients.

 

A 12 string guitar with the transients eliminated and run through a Leslie plugin is not a Hammond but it's an interesting option.

[Dave Bryce]

Hardware - wise:

 

I absolutely love my Summit TLA100 compressor for tracking. Smooth, warm, easy to use on just about everything. When I want a more neutral sound/finer control, I tend to lean on my elysia mpressor 500. For buss compression, I'm very happy with my A Designs Nail - another Dave Hill design like my TLA 100, but dual channel...and with way more control/options.

 

Software - too many faves, depending on the application. I do find that I'm reaching less these days for the classic emulations in favor of some of the newer, more vibey designs. Brainwork BX-townhouse is a fave these dave, as is their Acme Audio Opticom XLA-3.

 

I invested in the Universal Audio powered plug-in system very early on, back in the days of the UAD-1 card.

 

Same here.

 

Me as well. Their classic emulations have been my go-to for a whole lot of years.

 

dB

[The Real MC]

No single compressor works for everything.

 

UREI/JBL 7110 with optional output transformer for bass guitar. Better low end with the optional OT, and nice punchy comp for bass. I have a pair of 7110s, and they are also excellent for program material.

 

UREI LA12 for vocals. Set them right and they are smooooooth. Stereo version of the 7110, with a different SSM VCA.

 

Drawmer DL231 for snare and kick. The log detector sets this box apart, which happens to work really well on percussion.

 

UREI LA22. These can be real problem solvers with frequency selective compression. You're given a parametric filter for surgical compression. I had a live mix where the guitar player's talk box was squealing between notes - the LA22 did a great job automatically taming that squeal without altering the tone of the guitar. The LA22 can also operate as an expander, which works well on snare rudiments.

 

My first compressors were Alesis dirty 30s (aka 3630). Once I tried the 7110, I quickly got rid of the 3630s. Those 3630s didn't sound good on ANYTHING, but you gotta start somewhere.

[KuruPrionz]

No single compressor works for everything.

 

My first compressors were Alesis dirty 30s (aka 3630). Once I tried the 7110, I quickly got rid of the 3630s. Those 3630s didn't sound good on ANYTHING, but you gotta start somewhere.

 

True, there are different flavors for good reason.

 

I had an Alesis compressor and some other crappy compressors too. None of them were worth the powder to blow them to Hell and the DOD guitar compressor pedal ate their lunch, sad.

 

Yesterday I listened to the demos of the IK Comprexxor plugin. It sounds good on paper but the demos were not impressive and every single one of them was much louder than the "before" sound.

Which makes me believe they let imbeciles make the demo recordings.

 

It has nice features and enough different ones to potentially be versatile. Since it's $39.95 until Jan 4th I'm thinking I'll download a demo and see if I can get anything out of it.

[KenElevenShadows]

FMR RNLA.

 

It's like an RNC, only with distortion, girth. And the price was right.

 

I haven't used a ton of compressors, but this one, I do like. It does what it is supposed to do. And it makes things sound a little fatter. I can't complain.

 

The best one I've messed around with at NAMM was a while ago, and that was the Distressor. Incredible thing, that was.

[NewImprov]

My first compressors were Alesis dirty 30s (aka 3630). Once I tried the 7110, I quickly got rid of the 3630s. Those 3630s didn't sound good on ANYTHING, but you gotta start somewhere.

 

The 3630 was my first compressor as well, back when I was first learning (mostly teaching myself) about recording. I'd read about how important compression was, and actually saved up to buy a 3630, which was at the time pretty much the only affordable compressor available. After getting it, it just seemed to make everything I ran through it sound worse, which I assumed was due to my own lack of knowledge/experience. Eventually, I decided that I just didn't understand why anyone would use a compressor. It wasn't until later that I got into some real studios and got to play with some real compressors that I learned.

[Anderton]

I'd read about how important compression was, and actually saved up to buy a 3630, which was at the time pretty much the only affordable compressor available. After getting it, it just seemed to make everything I ran through it sound worse, which I assumed was due to my own lack of knowledge/experience.

 

For many people, the 3630 was their first compressor, so they didn't know how to adjust it. The biggest mistake I saw was people thinking if they didn't hear the compression effect, then it wasn't set right. I had one for a while, and when people listened to my music, many times they remarked how fortunate I was to be able to afford a good compressor...and then I told them it was a 3630 Granted, it was no LA-2A or Omnipressor, but it could handle the basics IF you didn't push it.

[Al Coda]

For many people, the 3630 was their first compressor, so they didn't know how to adjust it.

 

Well, Tom Petty used it in his guitar rig.

 

I still own one, also a couple of DBX 166, a Rocktron 300A and even a old Behringer dual mono.

All are usable,- for coloration and as an effect.

 

But today, I prefer stuff running on DSP (my S|C XITE-1) ...

 

Sonic Core Optimaster and Vinco

 

and,-

 

dNa Mix Comp bundle

 

is what I use.

 

Many native VST options in addition.

 

 

A.C.

[Anderton]

 

But today, I prefer stuff running on DSP (my S|C XITE-1) ...

 

Sonic Core Optimaster and Vinco

 

I'm glad to see Sonic Core is still around. I still think Creamware was ahead of its time!

[Al Coda]

I'm glad to see Sonic Core is still around. I still think Creamware was ahead of its time!

 

And it still improves!

 

They were hacked w/ ransomware some time ago,- so new website already and new shop soon ...

Sonic-Core.de

 

There are a few companies developing software-devices for XITE and dNa is one of these ...

dNa

Ocean Swift Synthesis too ...

OSS

 

Their stuff sounds awesome.

 

Old Creamware devices will still be included w/ SCOPE, but all what became Sonic Core stock devices got updates and improvements too.

More to come soon.

 

 

A.C.

[Greg Mein]

also a couple of DBX 166

 

A DBX 166 was the best compressor I'd had but like a lot of the hardware I used to have, it got sold for move downsizing. The Antares AVP-1 I've held onto has a compressor section but is no doubt software based. When I get going with recording again I'll do most processing with software and, in fact, even when I was on my last recording spree many years ago I typically used the DAW's built in stuff on tracks after the fact. I have a lot of work to do before I'm ready to record again and I have a lot of options with computers, software and the external units I held onto so it's hard to envision the approach I'll like best as I get my studio up and going again.

 

I tend to think of compression in terms of the function and purpose of it rather than any type of sound it may impart. To me it's typically about leveling out vocal tracks but also comes in handy for acoustic guitar and maybe some other bits here and there.

[Al Coda]

I´m a keyboard player and, not singing myself, I rarely use mics.

But when I use a mic, recording a vocalist, I still prefer some pre-processing,- p.ex. between mic-pre and AD-converter.

The "vintage" DBX-166 (not "A" and not "X" etc.), which is stereo or dual mono, works well when both being put in series and carefully adjusted.

Just don´t push it too hard to avoid too much coloration.

We got good resuts together w/ a AKG C414 in the past.

Only the noise-gate of the DBX-166 isn´t the best,- so I still have a U.S. Audio Gatex (4 gates/ downward expanders) in stock.

These re-branded unit is on par w/ the Valley People gear.

 

Today, I´d wish I still had a Valley People 400 compressor for pre-processing.

 

Once a signal is "in the box",- I use the DSP stuff mentioned above WHEN mixing in SCOPE.

When using the DAW software and native VST alone,- I use plugins coming w/ the DAW software (Studio One Pro, Reaper, Reason) itself and what comes w/ NI Komplete Ultimate CE,- as also some great freeware plugins for post processing.

 

LoudMax is my prefered limiter in the master section of a VST mixer.

 

vladg limiter n6 is also a great alternative.

 

vladg molot compressor is an excellent tool.

 

TDR Molotok too ...

 

No need to spend big money for "famous" VST/AU FX bundles etc..

 

 

A.C.

[Anderton]

No need to spend big money for "famous" VST/AU FX bundles etc.

 

Compressors use fairly basic technology. If you just want to add some compression, then (personal bias alert) I think pretty much anything will work. It's the outliers (like the Omnipressor) where only that particular box will really do the job.

[KenElevenShadows]

The Alesis 3630 can be used as an effective high-pass filter.

 

Sorry. Too easy.

[KuruPrionz]

No need to spend big money for "famous" VST/AU FX bundles etc.

 

Compressors use fairly basic technology. If you just want to add some compression, then (personal bias alert) I think pretty much anything will work. It's the outliers (like the Omnipressor) where only that particular box will really do the job.

 

I almost sort of agree with this. Optical compressors do have a unique dynamic signature, that's why I have one dual mono unit. I guess I could sell the little Levelars now. Those would be my favorite bargain compressor, they can be had cheap!

 

The RNC never sounded that good on bass, just for one thing. It did compress the dynamic range but not in a "fun" way. Different tool for a different purpose, a "stealth" compressor.

 

I'm pretty sure the JBL compressor I got is safe as milk, it is also dual mono (and linkable) plus it has a noise gate at the front end so you can filter out some of the noise going in if needed. The RNC might be more "invisible" but I suspect in the end the JBL will serve the same purpose while providing two complete, autonomous compressors when needed and a stereo unit when desired. The JBL also provides side chain inputs for each channel, something else the RNC did not have.

[KenElevenShadows]

The RNC never sounded that good on bass, just for one thing. It did compress the dynamic range but not in a "fun" way. Different tool for a different purpose, a "stealth" compressor.

 

I found that I could get a good bass sound if I slowed down the attack quite a bit. The RNC compressor seems absurdly fast and seems to cause distortion if used with a fast attack.

 

That said, I prefer the RNLA for bass.

[KuruPrionz]

The RNC never sounded that good on bass, just for one thing. It did compress the dynamic range but not in a "fun" way. Different tool for a different purpose, a "stealth" compressor.

 

I found that I could get a good bass sound if I slowed down the attack quite a bit. The RNC compressor seems absurdly fast and seems to cause distortion if used with a fast attack.

 

That said, I prefer the RNLA for bass.

 

I haven't tried the RNLA but I would like to give one a spin. I wish they would make a less expensive model that wasn't dedicated stereo permanently linked. Just a single channel, which is how I ended up using the RNC and why I sold it.

I needed 2 channels of cleaner compression and being able to link them as stereo (or unlink them) is a nice feature but one I seldom need or want.

[KenElevenShadows]

I should add to my comment above that the distortion occurs primarily on bass, not on other instruments. Something about the bass frequency + super fast attack causes the distortion. It's not a bad thing. I like the fact that they give you a choice to have a really fast attack if you should need it.

 

I received the RNLA for free, so the price was certainly right. I really like it for quite a few things, including vocals and bass.

[Anderton]

I should add to my comment above that the distortion occurs primarily on bass, not on other instruments. Something about the bass frequency + super fast attack causes the distortion.

 

That's because the compressor is trying to compress individual cycles instead of the audio as a whole,. A 50 Hz waveform's period is 20 ms, so you need a longer attack time with bass to get rid of the buzz (if you indeed want to).