Compressors

History of Compressors

Audio compressors are essential tools used in music production, broadcasting, and other audio
applications to control the dynamic range of a sound signal. They were first introduced in the
1950s to address the issue of excessive dynamic range in recordings, which made it difficult to
maintain a consistent listening experience across different sections of a song or program.

Early audio compressors used vacuum tubes and optical or mechanical gain reduction systems,
but they were bulky, expensive, and had limited performance. In the 1960s, solid-state
compressors were developed, which were more affordable and reliable, and had better
performance characteristics.

One of the most iconic compressors of this era is the Universal Audio 1176, which was
introduced in 1967 and quickly became a standard tool in recording studios around the world.
The 1176 used a FET (Field Effect Transistor) gain reduction circuit, which provided fast and
smooth compression with a unique character and sound.

During the 1970s and 1980s, many other classic compressors were developed, including the
Teletronix LA-2A, the SSL G Series, and the Neve 33609. Each of these compressors had its
own distinctive sound and features, and they were often used in combination to achieve specific
sonic characteristics.

In the 1990s, digital audio technology began to emerge, which brought new possibilities and
challenges to the world of audio compression. Digital compressors had to deal with issues such
as latency, quantization noise, and aliasing, which required new approaches to gain reduction and
signal processing.

One of the most popular digital compressors of this era is the Waves L2 Ultramaximizer, which
was introduced in 1994 and became a standard tool for mastering engineers around the world.
The L2 used a peak limiter and a look-ahead gain reduction algorithm to achieve high levels of
loudness without excessive distortion or pumping.

In recent years, audio compression has continued to evolve, with new techniques and tools being
developed to address the demands of modern music production and broadcasting. Some of the
latest trends in audio compression include multiband compression, sidechain processing, and
dynamic equalization, which allow for greater control and creativity in shaping the sound of a
mix or a program.

Overall, audio compressors have played a critical role in the history of music production and
audio engineering, and they continue to be essential tools for achieving professional-quality
sound in a wide range of applications.
1898: Patent for the first volume compressor is filed by Horace Short.

1930s: The first optical compressor, the LA-2A, is developed by Teletronix.

1950s: The first FET (Field-Effect Transistor) compressor is introduced by Universal Audio.

1960s: The first variable-mu tube compressor, the Fairchild 670, is developed and becomes
highly sought after for its warm sound.

1970s: The SSL 4000 series console, featuring the VCA (Voltage-Controlled Amplifier)
compressor, is introduced and becomes a staple in recording studios.

1980s: Digital compressors begin to emerge, offering greater precision and flexibility.

1990s: Multiband compressors become more widely available, allowing for independent control
of gain reduction across different frequency bands.

2000s: Software emulations of classic compressors become popular, allowing producers and
engineers to achieve the sound of vintage hardware without the cost and maintenance.

2010s: Hybrid compressors, combining analog and digital technologies, gain popularity for their
ability to offer the best of both worlds.

2020s: Advancements in artificial intelligence and machine learning lead to the development of
new types of compressors that are more intuitive and automated.

The Different Flavors of Compressors

There are several types of audio compressors, each with its own unique function and creative
application. Below are the most common types of compressors and their characteristics:

Optical Compressor:

Optical compressors are a type of analog hardware compressor that use an optical circuit to
control the gain reduction of the audio signal. They are popular among engineers and producers
for their smooth and musical sound quality, and their ability to provide subtle compression
characteristics that are difficult to replicate with other types of compressors.

The basic principle of an optical compressor is that the audio signal is first converted into an
electrical signal, which is then used to modulate the amount of light that is passed through an
optical cell. The amount of light that passes through the cell is controlled by a light source and a
photoresistor, which is sensitive to changes in light intensity.
As the level of the audio signal increases, the amount of light that passes through the optical cell
decreases, causing the resistance of the photoresistor to increase. This increase in resistance then
reduces the gain of the amplifier, which results in a reduction in the level of the audio signal.

The attack and release times of an optical compressor are determined by the time it takes for the
light source to illuminate the optical cell and for the photoresistor to respond to changes in light
intensity. The attack time is the time it takes for the compressor to start reducing gain after the
input signal exceeds a certain threshold, while the release time is the time it takes for the
compressor to stop reducing gain after the input signal drops below the threshold.

Optical compressors are often used in recording and mixing applications where a smooth and
natural-sounding compression is desired. They are particularly effective on instruments such as
vocals, bass, and acoustic guitars, where a transparent compression is desired. Optical
compressors are also often used in mastering applications, where a subtle and transparent
compression is needed to even out the dynamic range of the final mix.

One of the key advantages of optical compressors is their ability to provide a natural and musical
compression that is difficult to achieve with other types of compressors. They are also known for
their relatively slow attack and release times, which can be used to preserve the transient peaks
of the audio signal and provide a more transparent compression.

In summary, optical compressors use an optical circuit to control the gain reduction of the audio
signal, and are often used in recording and mixing applications where a smooth and natural-
sounding compression is desired. They are particularly effective on instruments such as vocals,
bass, and acoustic guitars, and are also often used in mastering applications to even out the
dynamic range of the final mix.

Popular Models include:

1. Teletronix LA-2A: As mentioned earlier, the LA-2A is one of the most popular optical
compressors. It is a tube-based compressor known for its smooth and natural sound, often
used on vocals, bass, and drums. The LA-2A has been used by many notable engineers
and producers, such as Al Schmitt and Manny Marroquin.
2. Tube-Tech CL 1B: This is another well-regarded tube-based optical compressor. It is
known for its transparent and versatile compression, making it suitable for a wide range
of applications, including vocals, guitars, and drums. Notable users include Michael
Brauer, Tony Maserati, and Joe Chiccarelli.
3. LA-3A: Designed as a solid-state version of the LA-2A, the LA-3A offers similar
compression characteristics with a faster attack time. It works well on guitars, bass, and
vocals. Notable users include Chris Lord-Alge and Andy Wallace.
4. Shadow Hills Industries Optograph: This is a modern optical compressor with a unique
dual-stage compression design. It is known for its flexibility and is used for a wide range
of applications, such as vocals, drums, and guitars. Users include Greg Wells and Dave
Pensado.
5. Avalon VT-737sp: The VT-737sp is a channel strip that includes an optical compressor,
along with a preamp and equalizer. The compressor section is known for its transparent
 and smooth sound, often used on vocals and bass. Notable users include Tony Maserati,
Bruce Swedien, and Babyface.

VCA Compressor:

VCA (Voltage-Controlled Amplifier) compressors are a popular type of audio compressor that
use an electronic circuit to control the gain reduction of the audio signal. They are widely used in
recording and mixing applications due to their versatility, speed, and precision in controlling
dynamics.

The basic principle of a VCA compressor is that the audio signal is first converted into an
electrical signal, which is then used to control the gain of a VCA. The VCA is essentially an
amplifier that can be controlled by a voltage signal, allowing the compressor to accurately
control the gain of the audio signal.

The amount of gain reduction applied by a VCA compressor is determined by the amount of
voltage applied to the VCA. When the input signal exceeds a certain threshold level, the
compressor applies a fixed amount of gain reduction to the signal, proportional to the amount by
which the input signal exceeds the threshold. This allows the compressor to effectively reduce
the dynamic range of the audio signal, resulting in a more even and controlled sound.

VCA compressors typically offer a wide range of control options, including adjustable attack and
release times, ratio settings, and threshold levels. This makes them versatile and well-suited to a
variety of recording and mixing applications.

One of the key advantages of VCA compressors is their ability to provide fast and precise gain
reduction, allowing them to effectively control dynamic range and prevent clipping and
distortion. They are commonly used in applications where fast and precise compression is
needed, such as on drums, percussion, and other instruments with fast transients.

Another advantage of VCA compressors is their ability to provide a consistent and predictable
compression effect. This can be useful when working with material that requires a transparent
and unobtrusive compression, such as vocals or acoustic guitars.

In summary, VCA compressors use an electronic circuit to control the gain reduction of the
audio signal, and are widely used in recording and mixing applications due to their versatility,
speed, and precision in controlling dynamics. They are particularly effective on instruments with
fast transients, and are well-suited to applications where a consistent and predictable
compression effect is desired.

Popular Models include:

1. SSL G-Series Bus Compressor: A staple in many professional studios, the SSL G-Series
Bus Compressor is known for its ability to "glue" a mix together. It is often used on the
stereo bus for overall mix compression. Notable users include Bob Clearmountain, Andy
Wallace, and Spike Stent.
 2. API 2500: As mentioned earlier, the API 2500 is a versatile VCA compressor with a
punchy sound, often used on drums, guitars, and buses. Notable users include Andrew
Scheps, Joe Chiccarelli, and Dave Pensado.
3. dbx 160: The dbx 160 series (including the original 160, 160A, 160X, and 160SL) is
known for its transparent and clean sound. These compressors are often used on drums,
bass, and vocals. Notable users include Bruce Swedien, Al Schmitt, and Manny
Marroquin.
4. Neve 33609: The Neve 33609 is a classic VCA compressor known for its smooth and
musical sound. It is often used for bus compression, drums, and guitars. Notable users
include Michael Brauer, Chris Lord-Alge, and Alan Moulder.
5. Empirical Labs Fatso: The Fatso is a unique VCA compressor that combines compression
with tape saturation and harmonic generation. It can be used for a wide range of
applications, including drums, vocals, and guitars. Notable users include Dave Pensado,
Greg Wells, and Joe Barresi.
6. Focusrite Red 3: The Focusrite Red 3 is a dual-channel VCA compressor and limiter
known for its clean and transparent sound. It is often used on the stereo bus, drums, and
vocals. Notable users include Tom Elmhirst, Kevin Killen, and Tony Maserati.

Vari-Mu Compressors:

Vari-Mu compressors are a type of tube-based analog compressor that use a variable-mu tube to
control the gain reduction of the audio signal. They are known for their warm and musical sound
quality, and are often used in recording and mixing applications where a vintage or classic sound
is desired.

The basic principle of a Vari-Mu compressor is that the audio signal is first converted into an
electrical signal, which is then used to control the gain of a variable-mu tube. The variable-mu
tube is essentially an amplifier that can be controlled by the level of the input signal, allowing the
compressor to accurately control the gain of the audio signal.

The amount of gain reduction applied by a Vari-Mu compressor is determined by the amount of
current flowing through the variable-mu tube. As the level of the input signal increases, the
amount of current flowing through the tube decreases, causing the resistance of the tube to
increase. This increase in resistance then reduces the gain of the amplifier, resulting in a
reduction in the level of the audio signal.

Vari-Mu compressors typically offer a wide range of control options, including adjustable attack
and release times, ratio settings, and threshold levels. This makes them versatile and well-suited
to a variety of recording and mixing applications.

One of the key advantages of Vari-Mu compressors is their ability to provide a warm and
musical compression that is often associated with vintage and classic recordings. They are
particularly effective on instruments such as vocals, electric guitars, and drums, where a smooth
and natural-sounding compression is desired.
Another advantage of Vari-Mu compressors is their ability to provide a soft-knee compression
characteristic, which allows them to provide a more gradual and natural-sounding reduction in
gain. This can be useful when working with material that requires a more transparent and
unobtrusive compression, such as orchestral recordings or acoustic ensembles.

In summary, Vari-Mu compressors use a variable-mu tube to control the gain reduction of the
audio signal, and are known for their warm and musical sound quality. They are particularly
effective on instruments such as vocals, electric guitars, and drums, and are well-suited to
applications where a vintage or classic sound is desired. They are also well-suited to applications
where a soft-knee compression characteristic is desired, such as orchestral recordings or acoustic
ensembles.

Popular Models include:

1. Fairchild 670: The Fairchild 670 is a legendary tube compressor, known for its warm and
smooth sound, often used on vocals and in mastering applications. Notable users include
Geoff Emerick (The Beatles) and Ken Scott (David Bowie, Elton John).
2. Manley Labs Variable Mu: The Manley Variable Mu is a modern interpretation of the
classic Vari-mu design. It is known for its transparent and warm sound, often used for
bus compression, vocals, and mastering. Notable users include Michael Brauer, Greg
Calbi, and Bob Ludwig.
3. Chandler Limited RS124: The Chandler Limited RS124 is a recreation of the famous
EMI/Abbey Road Studios RS124 compressor, which was based on the Altec 436B. It is
known for its smooth and warm sound, often used on vocals, guitars, and drums. Notable
users include Michael Brauer, Joe Chiccarelli, and Chris Lord-Alge.
4. Retro Instruments 176: The Retro 176 is inspired by the classic Gates Sta-Level
compressor, a popular broadcast compressor from the 1950s. It is known for its warm,
vintage sound, often used on vocals, bass, and drums. Notable users include Vance
Powell, Andrew Scheps, and Jacquire King.
5. Pendulum Audio ES-8: The Pendulum Audio ES-8 is a modern Vari-mu compressor with
a transparent and smooth sound. It is often used for bus compression, vocals, and
mastering. Notable users include Bob Ludwig, Greg Calbi, and Joe Chiccarelli.

FET Compressor:

FET (Field-Effect Transistor) compressors are a type of audio compressor that use FETs as the
main gain reduction element. They are known for their fast and aggressive sound quality, and are
often used in recording and mixing applications where a punchy and energetic compression is
desired.

The basic principle of a FET compressor is that the audio signal is first converted into an
electrical signal, which is then used to control the gain of the FET. The FET is essentially a
transistor that can be controlled by a voltage signal, allowing the compressor to accurately
control the gain of the audio signal.
The amount of gain reduction applied by a FET compressor is determined by the amount of
voltage applied to the FET. When the input signal exceeds a certain threshold level, the
compressor applies a fixed amount of gain reduction to the signal, proportional to the amount by
which the input signal exceeds the threshold. This allows the compressor to effectively reduce
the dynamic range of the audio signal, resulting in a more even and controlled sound.

FET compressors typically offer a range of control options, including adjustable attack and
release times, ratio settings, and threshold levels. This makes them versatile and well-suited to a
variety of recording and mixing applications.

One of the key advantages of FET compressors is their ability to provide fast and aggressive
compression that is often associated with rock and pop music. They are particularly effective on
instruments such as drums, bass guitar, and electric guitar, where a punchy and energetic
compression is desired.

Another advantage of FET compressors is their ability to provide a consistent and predictable
compression effect. This can be useful when working with material that requires a transparent
and unobtrusive compression, such as vocals or acoustic guitars.

In summary, FET compressors use FETs as the main gain reduction element, and are known for
their fast and aggressive sound quality. They are particularly effective on instruments such as
drums, bass guitar, and electric guitar, and are well-suited to applications where a punchy and
energetic compression is desired. They are also well-suited to applications where a consistent
and predictable compression effect is desired, such as vocals or acoustic guitars.

Popular Models include:

1. Universal Audio 1176LN: The 1176LN is a classic FET compressor that has been used in
countless recordings. It is known for its fast attack and release times and is often used on
vocals, drums, and guitars. Notable users include Michael Brauer, Chris Lord-Alge, and
Andrew Scheps.
2. Empirical Labs Distressor: The Distressor is a modern FET compressor with a versatile
range of compression settings and a unique "British Mode" that emulates the aggressive
sound of the 1176 with all four ratio buttons engaged. It is widely used on drums, guitars,
and vocals. Notable users include Chris Lord-Alge, Michael Brauer, and Joe Barresi.
3. Hairball Audio FET/RACK: The FET/RACK is a DIY 1176-style FET compressor that
has become popular among audio enthusiasts and professionals alike. It offers the classic
1176 sound with some additional features and is often used on vocals, drums, and guitars.
4. UREI/Teletronix LA-4: The LA-4 is a less well-known FET compressor, often
considered a sibling to the more famous LA-2A. It offers a faster response time than the
LA-2A and is often used on guitars, bass, and vocals. Notable users include Bob
Clearmountain and Tchad Blake.
5. Warm Audio WA76: The WA76 is a modern recreation of the classic 1176LN, offering
the same fast response and aggressive sound at a more affordable price point. It is often
used on vocals, drums, and guitars.
Tube Compressor:

Tube compressors, also known as valve compressors, are a type of analog compressor that use
vacuum tubes as the main gain reduction element. They are known for their warm and
harmonically rich sound quality, and are often used in recording and mixing applications where a
vintage or classic sound is desired.

The basic principle of a tube compressor is that the audio signal is first converted into an
electrical signal, which is then used to control the gain of a vacuum tube. The vacuum tube is
essentially an amplifier that can be controlled by the level of the input signal, allowing the
compressor to accurately control the gain of the audio signal.

The amount of gain reduction applied by a tube compressor is determined by the level of the
input signal, as well as the settings of the compressor's various control parameters, such as the
threshold, ratio, attack, and release. As the level of the input signal increases, the gain of the tube
decreases, resulting in a reduction in the level of the audio signal.

One of the key advantages of tube compressors is their ability to provide a warm and
harmonically rich sound that is often associated with vintage and classic recordings. This is due
to the fact that vacuum tubes introduce a subtle amount of harmonic distortion into the audio
signal, which can add depth and character to the sound.

Tube compressors are particularly effective on instruments such as vocals, acoustic guitars, and
piano, where a smooth and natural-sounding compression is desired. They are also well-suited to
applications where a subtle and transparent compression effect is desired, such as on individual
tracks or in a mastering chain.

Tube compressors typically offer a wide range of control options, including adjustable attack and
release times, ratio settings, and threshold levels. This makes them versatile and well-suited to a
variety of recording and mixing applications.

In summary, tube compressors use vacuum tubes as the main gain reduction element, and are
known for their warm and harmonically rich sound quality. They are particularly effective on
instruments such as vocals, acoustic guitars, and piano, and are well-suited to applications where
a vintage or classic sound is desired. They are also well-suited to applications where a subtle and
transparent compression effect is desired, such as on individual tracks or in a mastering chain.

Popular Models include:

1. Teletronix LA-2A: The LA-2A is a classic tube-based optical compressor, known for its
smooth and natural sound, often used on vocals, bass, and drums. Notable users include
Al Schmitt, Manny Marroquin, and Joe Chiccarelli.
 2. Fairchild 670: The Fairchild 670 is a legendary tube compressor, known for its warm and
smooth sound, often used on vocals and in mastering applications. Notable users include
Geoff Emerick, Ken Scott, and Jack Joseph Puig.
3. Tube-Tech CL 1B: The Tube-Tech CL 1B is a popular tube-based optical compressor,
known for its transparent and versatile compression, making it suitable for a wide range
of applications, including vocals, guitars, and drums. Notable users include Michael
Brauer, Tony Maserati, and Joe Chiccarelli.
4. Manley Labs Variable Mu: The Manley Variable Mu is a modern interpretation of the
classic Vari-mu design, known for its transparent and warm sound, often used for bus
compression, vocals, and mastering. Notable users include Michael Brauer, Greg Calbi,
and Bob Ludwig.
5. Retro Instruments STA-Level: The Retro Instruments STA-Level is a recreation of the
classic Gates STA-Level compressor, a tube-based compressor known for its warm,
vintage sound, often used on vocals, bass, and drums. Notable users include Vance
Powell, Andrew Scheps, and Jacquire King.
6. Pendulum Audio PL-2: The Pendulum Audio PL-2 is a tube-based peak limiter known
for its transparent and smooth sound, often used for vocals and mastering applications.
Notable users include Bob Ludwig, Greg Calbi, and Joe Chiccarelli.

Digital Compressor:

Digital compressors are a type of audio compressor that use digital processing techniques to
apply gain reduction to an audio signal. They are known for their precision and accuracy, and are
often used in recording and mixing applications where a clean and transparent compression is
desired.

The basic principle of a digital compressor is that the audio signal is first converted into a digital
format, which is then processed using specialized algorithms to apply gain reduction to the
signal. The amount of gain reduction applied is determined by the settings of the compressor's
various control parameters, such as the threshold, ratio, attack, and release.

Digital compressors typically offer a wide range of control options, including adjustable attack
and release times, ratio settings, and threshold levels. They may also offer additional features
such as sidechain inputs and multiband processing, which can be used to tailor the compression
effect to specific frequency ranges or instruments.

One of the key advantages of digital compressors is their ability to provide a precise and accurate
compression effect, with minimal distortion or noise. They are particularly effective on
instruments such as vocals, acoustic guitars, and electronic instruments, where a clean and
transparent compression is desired.

Digital compressors are also well-suited to applications where a consistent and predictable
compression effect is desired, such as in a mastering chain. They may also be used in live sound
applications, where the ability to recall and save presets can be useful for quickly adjusting the
compression settings on multiple channels.
One of the potential drawbacks of digital compressors is that their sound quality may be
perceived as less "warm" or "musical" compared to analog compressors. However, many digital
compressors now offer emulation modes that seek to replicate the sound and character of classic
analog compressors.

In summary, digital compressors use digital processing techniques to apply gain reduction to an
audio signal, and are known for their precision and accuracy. They are particularly effective on
instruments such as vocals, acoustic guitars, and electronic instruments, where a clean and
transparent compression is desired. They are also well-suited to applications where a consistent
and predictable compression effect is desired, such as in a mastering chain or live sound
reinforcement.

Popular Models include:

1. FabFilter Pro-C2: The FabFilter Pro-C2 is a versatile and transparent digital compressor
plugin known for its clean sound and advanced sidechain features. It is widely used for
various applications, including vocals, drums, and bus compression.
2. Waves SSL G-Master Buss Compressor: This digital emulation of the renowned SSL G-
Series Bus Compressor is known for its ability to glue a mix together, often used on the
stereo bus for overall mix compression.
3. Universal Audio 1176LN & LA-2A Collection: These plugins are digital emulations of
the classic FET and tube-based compressors, offering the same fast response and smooth
sound as their hardware counterparts.
4. Cytomic The Glue: The Glue is a digital emulation of the SSL G-Series Bus Compressor,
known for its transparent sound and ability to create a cohesive mix.
5. iZotope Ozone Dynamics: Part of the iZotope Ozone mastering suite, Ozone Dynamics
offers a versatile multiband compressor and limiter, often used in mastering applications.
6. Waves CLA-76 and CLA-2A: These plugins are digital emulations of the classic 1176LN
and LA-2A compressors, offering the same fast response and smooth sound as their
hardware counterparts.
7. Native Instruments VC 2A, VC 76, and VC 160: These plugins are digital emulations of
the classic LA-2A, 1176LN, and dbx 160 compressors, offering the same characteristic
sound as their hardware counterparts.
8. UAD API 2500: This plugin is a digital emulation of the API 2500 VCA compressor,
known for its punchy sound and versatility.

Multiband Compressors:

Multiband compressors are a type of audio compressor that allow for the independent control of
gain reduction across different frequency bands. They are often used in recording and mixing
applications where a more precise and targeted compression effect is desired.

The basic principle of a multiband compressor is that the audio signal is first split into different
frequency bands, with each band corresponding to a different range of frequencies. Each band is
then processed independently using a separate compressor circuit, allowing for precise control
over the gain reduction applied to each frequency range.

The amount of gain reduction applied to each frequency band is determined by the settings of the
compressor's various control parameters, such as the threshold, ratio, attack, and release. By
adjusting these parameters for each frequency band, the user can tailor the compression effect to
specific frequency ranges, allowing for a more targeted and precise compression effect.

Multiband compressors are particularly effective on instruments or sources that have a wide
frequency range, such as vocals, acoustic guitar, and bass guitar. They can be used to reduce
harshness or sibilance in the high frequencies, control the level of midrange frequencies, or
tighten up the low end. By applying different settings to each frequency band, the user can
achieve a more balanced and polished sound.

Multiband compressors are also useful in mastering applications, where they can be used to
adjust the dynamics of a mix without affecting the overall balance or frequency response. They
can be used to tame any frequency imbalances or inconsistencies in a mix, while preserving the
overall character and tone of the music.

One of the potential drawbacks of multiband compressors is that they can be more complex and
time-consuming to set up compared to traditional single-band compressors. Additionally, if used
improperly, they can introduce phase issues or other artifacts that can negatively impact the
sound quality.

In summary, multiband compressors allow for independent control of gain reduction across
different frequency bands, and are often used in recording and mixing applications where a more
precise and targeted compression effect is desired. They are particularly effective on sources
with a wide frequency range, such as vocals, acoustic guitar, and bass guitar, and are useful in
mastering applications to adjust the dynamics of a mix without affecting the overall balance or
frequency response.

Popular Models include:

1. Waves C4 / C6 Multiband Compressor: These plugins are versatile multiband

compressors, often used for mixing and mastering applications. The C4 offers four bands,
while the C6 provides six bands of compression.
2. iZotope Ozone Dynamics: As part of the iZotope Ozone mastering suite, Ozone
Dynamics includes a powerful multiband compressor and limiter, often used in mastering
applications.
3. FabFilter Pro-MB: The FabFilter Pro-MB is a transparent and flexible multiband
compressor plugin with advanced sidechain and mid/side processing capabilities. It is
widely used for mixing and mastering tasks.
4. McDSP ML4000: The McDSP ML4000 is a high-resolution multiband limiter and
compressor plugin, known for its transparent sound and flexibility. It is often used for
mixing and mastering applications.
 5. Waves Linear Phase Multiband Compressor: This plugin offers linear phase processing
for transparent multiband compression, often used in mastering applications to maintain
phase coherence.
6. TDR Nova: TDR Nova by Tokyo Dawn Labs is a parallel dynamic equalizer that also
functions as a multiband compressor. It offers a transparent sound and advanced
sidechain capabilities, often used for mixing and mastering tasks.
7. Sonnox Oxford Dynamics: The Sonnox Oxford Dynamics plugin includes a multiband
compressor as one of its features, providing precise control over mix dynamics.

Hardware vs Software

Hardware and software audio compressors each have their own advantages and disadvantages,
and the choice between them ultimately depends on the specific needs of the user. Here are some
of the key advantages and disadvantages of each:

Hardware Compressors:

Advantages:

1. Analog Sound: Hardware compressors have an analog circuitry that provides a unique
sound quality that many engineers and producers prefer. Analog circuitry can produce
subtle harmonic distortions and compression characteristics that are difficult to replicate
with software.
2. Dedicated Processing: Hardware compressors are dedicated to performing a specific task,
which can result in more precise and reliable processing.
3. User Interface: Hardware compressors often have physical knobs and switches that
provide a tactile and intuitive user interface, making it easier to make adjustments on the
fly.
4. Stability: Hardware compressors are less likely to crash or freeze compared to software,
making them a reliable option for critical live performances or studio sessions.

Disadvantages:

1. Cost: Hardware compressors can be expensive, and purchasing multiple units can quickly
become cost-prohibitive.
2. Limited Functionality: Hardware compressors are designed to perform a specific task and
often have limited control over compression parameters compared to software
compressors.
3. Maintenance: Hardware compressors require regular maintenance, including cleaning and
recalibration, which can add to the overall cost and time investment.
4. Space: Hardware compressors require physical space in the studio or live setup, which
can be a limiting factor for smaller studios or live venues.

Software Compressors:
Advantages:

1. Cost-effective: Software compressors are generally more affordable than hardware

compressors, and there are many free or low-cost options available.
2. Versatility: Software compressors can be programmed to perform a wide range of tasks,
and often offer more control over compression parameters compared to hardware
compressors.
3. Portability: Software compressors are easy to transport and can be used on any computer
with compatible software, making them a great option for mobile recording or live
performances.
4. Updates: Software compressors can be updated with new features and improvements over
time, providing users with access to the latest technology and developments.

Disadvantages:

1. Digital Sound: Software compressors lack the analog circuitry of hardware compressors
and may not provide the same sound quality or character.
2. Processing Power: Software compressors can be CPU-intensive, and may require a
powerful computer to run smoothly.
3. Latency: Software compressors can introduce latency, which can cause timing issues in
live performances or recording sessions.
4. User Interface: Software compressors often have a less intuitive user interface compared
to hardware compressors, requiring more time and effort to learn and use effectively.

In conclusion, both hardware and software compressors have their advantages and
disadvantages, and the choice between them ultimately depends on the specific needs of the user.
While hardware compressors provide an analog sound and tactile user interface, they can be
expensive and require maintenance. Software compressors are more cost-effective and versatile,
but may lack the sound quality of hardware compressors and require a powerful computer to run
smoothly.

Creative Applications of Compressors

The creative applications of compressors are endless, and depend largely on the context and style
of the music being produced. Below are some examples of creative uses of compressors:

1. Dynamic control: Audio compressors can be used to control the dynamic range of a
sound signal, making it easier to maintain a consistent listening experience across
different sections of a song or program.

2. Coloration: Different types of compressors have their own distinctive sound and
character, which can be used to add color and character to the audio signal.
 3. Saturation: By increasing the gain reduction and output level of a compressor, it is
possible to introduce a subtle or extreme saturation effect that can add warmth and
richness to the audio signal.

4. Transient shaping: By adjusting the attack and release settings of a compressor, it is

possible to shape the transient response of a sound, making it punchier or smoother.

5. Parallel Compression: Parallel compression involves mixing a heavily compressed

version of a track with an uncompressed or lightly compressed version of the same track.
This technique can add depth, sustain, and presence to a sound, while preserving its
natural dynamics.

6. Sidechain Compression:

Sidechain compression is a technique where the compressor's action is triggered by an external

audio signal (the sidechain input), instead of the main input signal. This can be used to create a
variety of creative effects and solve certain mixing challenges. Here are some creative ways to
use sidechain compression in an audio mix:

1. Ducking: This is the most common use of sidechain compression. By applying sidechain
compression to a pad, bass, or any sustained sound, and using a kick drum or other
percussive element as the sidechain input, you can create a "pumping" effect where the
sustained sound is "ducked" or reduced in level each time the kick drum hits. This is a
signature technique in electronic dance music genres.
2. De-essing: Sidechain compression can be used as a de-esser by inserting a compressor on
a vocal track and using a filtered version of the same vocal track as the sidechain input.
By filtering the sidechain input to emphasize the sibilant frequencies (e.g., 5-10 kHz), the
compressor will only react to these harsh sibilant sounds, reducing their level in the vocal
track.
3. Bass and kick separation: To create space and separation between the bass and kick
drum, apply sidechain compression to the bass track using the kick drum as the sidechain
input. This will lower the bass level each time the kick drum hits, preventing frequency
clashes and giving the mix more clarity and definition.
4. Enhancing rhythmic elements: By applying sidechain compression to a pad, guitar, or
other sustained sound and using a rhythmically interesting part (e.g., a percussion loop)
 as the sidechain input, you can create a sense of movement and rhythm in the sustained
sound, making it more engaging and dynamic.
5. Creating space for dialogue or vocals: In film or television post-production, or even in a
music mix with a lead vocal, sidechain compression can be applied to background music
or sound effects, using the dialogue or vocal track as the sidechain input. This will
automatically lower the level of the background elements whenever the dialogue or vocal
is present, making it more intelligible and clear in the mix.
6. Gated reverb effect: Apply sidechain compression to a reverb send and use the original
dry signal as the sidechain input. By adjusting the attack and release settings of the
compressor, you can create a gated reverb effect where the reverb is only audible when
the original sound is playing, creating a cleaner and more focused mix.

These are just a few creative ways to use sidechain compression in an audio mix. There are many
other possibilities, and experimenting with different sidechain inputs, compressor settings, and
audio sources can yield interesting and unique results.

7. Multiband Compression: Multiband compression involves splitting the audio signal into
several frequency bands, and applying different compression settings to each band. This
technique can help to balance the tonal balance of a mix, and to control the level of
specific frequency ranges.

8. Vocal Compression: Vocal compression involves using a compressor to control the

dynamic range of a vocal performance, and to bring out the nuances and details of the
singer's voice. This technique can help to make a vocal performance sound more
intimate, emotional, and expressive.

Overall, compressors are essential tools for achieving a professional-quality sound in music
production, broadcasting, and other audio applications. By understanding the characteristics and
creative applications of different types of compressors, audio engineers and producers can bring
out the best in their music and sound designs.