Compression is one the most fundamental and widely used tools in music production and audio engineering in general. Compressors and limiters are used at every stage of the process, from pedalboards and vocal chains to mixing, mastering, and broadcast studios. They keep our mixes from clipping, smooth uneven dynamics, thicken vocal and instrument tones, and even provide creative effects when pushed to their limits.

Over nearly a century of history, the humble compressor has evolved from a technical necessity to a valuable creative tool and—more recently—an object of worship among gear nerds. Vintage compressors and limiters still sell for tens of thousands of dollars, while modern reissues, clones, and plug-in emulations abound.

This timeline charts the evolution of dynamics processors from their origins in the mid-1930s to the state-of-the-art models available today. While we can’t list every compressor and limiter ever made, this timeline will cover the most innovative and popular units throughout music history.

The First Compressors

The concept of an automatic dynamics processor was originally developed for the broadcast industry. Early radio stations encoded broadcasts using Amplitude Modulation (AM), wherein the amplitude of a carrier frequency is modulated by the broadcast signal. Peaks in the program audio could cause the radio signal to become over-modulated, distorting the broadcast. To ensure a quality broadcast, stations needed some way of keeping audio levels in check.

Enter the “limiting amplifier”: a clever device that reduces signal peaks to a manageable level and then boosts the output, increasing usable headroom and allowing radio stations to broadcast a clearer, stronger signal that could reach more listeners with better quality. 

1936

Telefunken U3 Variable Transconductance Compressor

While not originally designed for use in recording studios, Telefunken's U3 dynamic compressor was originally used on the public address system at the Olympics Studio in 1936. The U3 would later become the basis for the U13 in the 1940s, which was the first diode bridge compressor ever made.

In 1953, Rhode and Schwarz developed the U23, which became popular with recording studios in the 1950s. For a modern take on the classic U3 design, check out the Vacuvox U23m.

1937

Western Electric introduces 110A Program Amplifier

Commonly cited as the first automatic dynamics processor to enter use, the Western Electric 110A was capable of increasing signal level by three whole decibels—a huge accomplishment for the time. Behind this capability was an innovative new type of “variable-mu” vacuum tube capable of adjusting its gain level in response to a bias signal. Relatively simple by today’s standards, the 110A’s minimal controls included knobs for Input and Output Gain and a Time Constant switch controlling attack and release.

1938

RCA introduces Model 96-A Compressor Limiter

Six months after Western Electric released the innovative but rather ugly 110A, their competitors at RCA upped the ante with the Model 96-A. While it utilized the same variable-mu concept and featured similar controls, the 96-A was decidedly sleeker-looking, with a bold black faceplate and metal grilles like an automobile. It was also probably the first audio device to officially be called a compressor.

1947

Langevin introduces PROGAR 119A Amplifier

While Western Electric and RCA’s early limiters represented a leap forward in audio processing, a San Francisco radio engineer named Al Towne found an even more sophisticated solution. Over more than a decade (possibly starting as far back as 1935), Towne developed a unit he called the “Program Guardian” that combined automatic gain control and peak limiting. He then sold his patented design to Langevin, who brought it to market as the PROGAR 119A.

Western Electric introduces BA-5-A “lookahead” limiter

Ten years after the 110A, Western Electric made another breakthrough in dynamics processing technology with the BA-5-A Limiter. This large, utilitarian-looking device incorporated a delay line to allow the detection circuit to “catch up” with the input signal, giving it more time to react to changes in level. The result was a more effective limiter capable of catching ultra-fast transients, similar to the “lookahead” function on some compressor plug-ins.

1956

Gates introduces Sta-Level compressor

Although not as groundbreaking as the first wave of variable-mu compressors, the Gates Sta-Level saw widespread adoption among popular radio stations into the 1960s. Attack and release were controlled by the “Recovery Time” switch, which had only two positions: Single and Double. The unit has since been updated and reissued by Retro Instruments with a new “Triple” setting and fine adjustment knob.

1958

Teletronix introduces LA-1 optical compressor

The next major breakthrough in compressor technology arrived in the form of the Teletronix LA-1. This device featured a unique detection circuit that converted the input signal into light using a luminescent panel coupled to a photocell which detected the changing brightness and triggered the compression circuit. Despite being controlled by light, this new optical compressor reacted slightly slower than previous designs, producing a smooth, neutral-sounding effect meant to smooth uneven levels rather than control fast peaks. Teletronix only produced around 100 LA-1 units, making this one of the rarest specimens in compressor history.

The Classics

By the late 1950s and early ‘60s, the compressor had already become a must-have tool for state-of-the-art studios. As recording technology advanced, and the music industry along with it, compressor manufacturers began developing ever more sophisticated designs, producing some of the most celebrated models during the golden age of analog recording.

1959

Fairchild Recording Equipment Corporation introduces 660 and 670 Compressor/Limiters

The single-channel Fairchild 660 and dual-channel Fairchild 670 are two of the most famous variable-mu compressors in music history. Originally developed for vinyl mastering, Fairchild compressors quickly became a studio favorite due to their extremely fast attack characteristics and automatic release settings, which provided effective peak limiting and smooth leveling. In 2023, Telefunken CEO Toni Fishman announced the formation of Fairchild Recording Equipment, LLC, and the launch of its first product, a reissue of the Fairchild 670.

Check out more modern Fairchild reproductions on our blog!

1961

Universal Audio introduces 175B and 176 Limiting Amplifiers

To kick off the 1960s, studio innovator Bill Putnam, Sr. introduced the first compression devices explicitly designed for studio recording and mixing: the Universal Audio 175B and 176. Overall similar to each other except for their Ratio settings and a few other details, these units were the first to feature independent controls for Attack and Release. Their horizontal rackmount design and control layout would later become the blueprint for future studio compressors.

Vintage King offers an exclusive recreation of the legendary 175B compressor, made in collaboration with Retro Instruments. Additionally, Retro Instruments offers an authentic recreation of the 176 compressor.

1965

Teletronix introduces LA-2A optical compressor

The Teletronix LA-2A improved upon the design of its predecessor with a refined circuit built around the now-famous T4 electro-optical detector. Several iterations were made, including the original LA-2 and the “silverface” version built by UREI, which featured faster transient performance. To this day, the LA-2A remains one of the most coveted compressors ever made, and many imitators have attempted to recreate its characteristically smooth, warm sound.

Check out more modern LA-2A reproductions on our blog!

1967

UREI introduces 1176 FET compressor

Using the recently invented field-effect transistor (FET), Bill Putnam, Sr. developed the first solid-state microphone preamp (the UREI 1108) and compressor (the UREI 1176) in 1967. Utilizing a “feedback” design the 1176 routes the input signal to the detector circuit after the compression circuit (as opposed to the traditional “feed-forward” design). This gave the unit a very transparent sound under optimal conditions, although studio engineers would soon discover that all four Ratio buttons could be engaged at once for extremely aggressive compression.

1968

EMI introduces TG12413 channel compressors

EMI’s custom-built TG12345 console was the first mixing desk to feature built-in compressors on every channel strip. The TG12413 compressor circuit can be heard on some of the most famous records made at Abbey Road Studios, and it has even been reissued as a standalone unit.

1969

Shure introduces M62V “Level-Loc” Audio Level Controller

More of an automatic gain controller than a true compressor, the Shure M62V was initially designed to achieve consistent speech levels in public address applications. Decades later, creative engineers like Dave Fridman (The Flaming Lips, Mercury Rev) and Tchad Blake (Peter Gabriel, Fiona Apple) began to exploit its rather aggressive sound to mangle and distort drum tracks, instruments, and vocals.

Neve introduces 2254 mono compressor/limiter

Although mainly known for his console and EQ designs, Rupert Neve’s engineering prowess extended to compressors, as well. The Neve 2254 was a single-channel unit that included both a limiter and a compression stage, making it an excellent all-purpose tool for recording and mixing.

1973

Dorrough introduces Model 310 DAP multiband limiter

Although the origins of multiband dynamics processors are hard to trace, Dorrough’s Model 310 DAP (Discriminate Audio Processor) stands out as the earliest model to enter widespread use. Based on a previous experimental eight-band limiter that Mike Dorrough called the “Behemoth,” the Model 310 reduced the number of bands to three and implemented gentler crossovers for a smoother sound.

1974

Eventide Omnipressor 2830

Originally billed as a "special effects unit," the Omnipressor offered a wide range of innovative dynamic effects including "infinite compression" and "dynamic reversal." The Omnipressor was also one of the first to introduce a dedicated side-chain filter, which was used as an early form of lookahead compression that Eventide dubbed "predictive compression." In honor of the Omnnipressor's 50th anniversary, Eventide released the updated Omnipressor 2830AU in 2023.

1976

dbx introduces 160 VCA compressor

Derived from the pioneering dbx 202 Voltage-Controlled Amplifier (VCA), the dbx 160 was the first compressor to utilize VCA technology. Similar in principle to a variable-mu tube, the VCA in the detector circuit offered more refined control over the attack, release, threshold, and knee parameters—at a fraction of the cost. Capable of everything from smooth leveling to peak limiting and aggressive “pumping” effects, the dbx 160’s sonic versatility and low price made it an instant favorite among recording and mixing engineers. Today, the spirit of the 160A lives on in dbx's 560A 500 Series compressor. 

1979

Solid State Logic introduces Master Bus Compressor

The SL 4000E console included the first iteration of SSL’s famous Master Bus Compressor, a built-in VCA compressor designed to enhance and pump up the dynamics of any mix. Combined with the 4000 E’s built-in channel compressors, the Master Bus Compressor helped usher in the trend of loud, punchy mixes. The coveted bus compressor has been reimagined several times over the years but is currently available as the G-Comp 500 Series compressor. 

The Modernization of Compressors

The 1980s marked a huge shift in the music industry, both stylistically and technologically. One of the major factors was the rapid advancement of integrated circuits (ICs): small, prefabricated chips containing an entire electronic circuit that can easily be integrated into audio equipment.

The advances in ICs had two major impacts on compressor development. First and foremost, it made hardware more affordable, leading to a wave of budget-friendly units that were accessible to home recordists. On the technological side, ICs allowed compression to be controlled digitally, unlocking new possibilities for “smart” compressors.

But analog never dies, and many manufacturers continued to iterate on traditional compressor designs, improving on time-tested circuits and embracing the tonal coloration of tubes and transformers. For the first time, the audio arms race wasn’t just about transparency and technical perfection—vintage sounds were coming back in style.

1985

Neve introduces 33609 stereo bus compressor/limiter

Based on the design of the classic Neve 2254 compressor, the 33609 is a two-channel unit with separate limiting and compression circuits on each channel. In addition to its signature Neve sound quality, features like program-dependent release and stepped controls made the 33609 a favorite for mix bus processing. Several revisions followed, including the 33609/C, /J, /JD, and /N.

1987

Solid State Logic introduces G Series Master Bus Compressor

The SL 4000 G console included an updated bus compressor design with an optimized VCA chip that provided slightly cleaner sound and better responsiveness than the previous iteration. The new compression circuit, along with revamped EQ circuitry and other tweaks, earned the G-series desks a place in the console hall of fame.

Tube-Tech introduces CL-1A optical compressor

At a time when solid-state VCA compressors were stealing the spotlight, Tube-Tech went against the grain and released the CL-1A: an all-tube optical compressor with old-school, point-to-point hand-wiring. 

1989

Alesis introduces 3630 dual-channel compressor/gate

The Alesis 3630 is famous not so much for its sound quality as its abundance. This relatively inexpensive unit offered two linkable channels of compression, including peak and RMS modes, hard and soft knees, and a gate on each channel—a sheer amount of utility that was hard to pass up for home recordists on a budget. The 3630 sold so many units that Alesis claims it as the “most popular dynamics processor ever made” (thanks in part to Daft Punk).

1991

Tube-Tech introduces CL-1B optical compressor

The CL-1B (the follow-up to the CL-1A) replaced the point-to-point hand wiring with modern circuit boards to reduce costs and increase consistency. The result was a modern classic that has been in production (and demand) ever since. In 2007, Tube-Tech partnered with Softube to develop an official CL1-B plug-in.

1994

Manley introduces Stereo Variable-Mu Limiter Compressor

Based on an old Danish broadcast limiter made by DISA, Manley’s Stereo Variable Mu® Limiter Compressor exemplified what people loved about vintage compression. Packed with tubes and transformers and sporting attractive analog VU meters, the Manley Variable Mu provided classic-sounding compression and modern reliability. Over the years, Manley made several modifications to the design including different types of tubes, a high-pass filter in the detection circuit, linked stereo and mid/side processing, and even a dedicated mastering version with stepped controls for precise recall.

"Variable Mu®" is a trademark belonging to Manley Laboratories, Inc.

1996

Empirical Labs introduces Distressor digitally-controlled VCA compressor

Empirical Labs’ Distressor was the first hardware compressor to combine digital and analog technology in the service of great sound. Thanks to advanced ICs and clever programming, the Distressor provides eight “compression curves” with different ratios and sonic characters, including a 1:1 mode that emulates the tone of a bypassed analog unit, an LA-2A-inspired “opto” setting, a brickwall-style “Nuke” mode, and a “British” setting that replicates an 1176 with all buttons engaged. With extra bells and whistles including two distortion modes and a high-passed sidechain, the Distressor quickly cemented its reputation as a modern classic.

2000

Universal Audio introduces 1176LN reissue

After reforming their father’s company in 1999, James Putnam and Bill Putnam, Jr. gave the people what they had long craved: an official reissue of the legendary 1176 compressor. Using Bill Sr.’s original design notes, they combined the best aspects of the C, D, and E revisions, including a recreation of the original output transformer.

FMR Audio introduces Really Nice Compressor

FMR Audio’s first product, the RNC1773, made digitally-controlled compression available to the masses in a relatively inexpensive and compact package. Doing away with fancy meters and sleek aesthetics, the RNC simply delivered great-sounding compression and limiting with versatile controls and a “Super Nice” mode for extra transparent sound—all in a one-third rack space format.

Avalon introduces 2044 Opto-Compressor

The Avalon 2044 went back to the original goals of compressors: transparent level control, pure sound, and subtle musicality. Its discrete, Class-A circuitry offered ultra-low-noise performance with plenty of headroom and the slightest hint of tonal character.

2002

API introduces 2500 stereo bus compressor

Another brand known more for consoles and EQs than compressors, API nonetheless holds a spot on the "legendary compressors list" with their renowned 2500 bus compressor. This unit was one of the first to offer creative tone controls, including the patented “Thrust” setting, which offered three options for frequency-dependent sidechain control.

The State of Compressors Today

The last 20 years have seen countless new compressors and limiters hit the market, from mastering-focused multiband units like the Maselec MLA-3 to affordable “prosumer” options like the ART Pro VLA II. Legendary classic models have been reissued and reimagined, 500 Series compressors have exploded in popularity, and compressor plug-ins have made huge leaps in quality thanks to analog emulation.

Only a few modern products have been truly innovative, but they don’t need to be. Compressors are like guitars: their fundamental design hasn’t changed much in the last few decades, but there will always be endless variations and sounds to explore. Long live the compressor!

If you’re interested in purchasing a compressor or any other gear for your studio, contact a Vintage King Audio Consultant via email or by phone at 866.644.0160.