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Read our Audio Compressors and Limiters Buyers Guide >
Audio compressors are essential tools in music production and live sound engineering. They help manage the dynamic range of audio by smoothing out volume peaks and boosting quieter sounds. This ensures that all parts of your music or audio are at a clear and consistent level. Audio compressors can also be used creatively to shape the sound's character or add punch to drums and vocals, making them stand out in a mix. Whether you're a professional in a recording studio or setting up your first home studio, it’s important to have at least a few compressors and limiters available for recording, mixing, and mastering. Vintage King offers a wide selection of top-quality analog compressors from the best brands in the industry.
Vintage King carries compressors and limiters from classic brands like API Audio, AMS Neve, Universal Audio, Fairchild, and Solid State Logic. We also carry a collection of modern classics from brands like Empirical Labs, Tube-Tech, UnderToneAudio, Shadow Hills Industries, Retro Instruments, and Manley Labs. Of course, if you’re looking for quality compressors on a budget, be sure to check out Warm Audio, dbx, Heritage Audio, and Black Lion Audio. No matter what kind of compressor you need for your recording studio, Vintage King is sure to have the right compressor for you!
Vari-mu Tube Compressors are some of the oldest compressor designs. Vari-mu compressors use a vacuum tube to control gain reduction, which gives them a characteristically warm and smooth sound. Because of this, they are often used on the mix bus or during the mastering process. Popular options include the Fairchild 670, Retro Instruments 175-B, UnderToneAudio Unfairchild, and the Manley Labs Vari-Mu compressor.
Optical Compressors, also known as Opto Compressors rely on a light-sensitive resistor to control gain reduction. They often have a slower response to transients, but are great at leveling out your signal, which makes them a go-to choice for vocals. Popular optical compressors include the Universal Audio LA-2A, the Tube-Tech CL 1B, and the Heritage Audio Tubesessor.
FET Compressors are known for their fast attack and distinct sound. The most popular FET compressors are the Universal Audio 1176, along with affordable recreations like the Warm Audio WA-76 and the Black Lion Audio Bluey.
VCA Compressors are fast and flexible, which make them a go-to choice for compressing an entire mix. Popular choices for mix bus compression include the SSL Bus+, API 2500+ Stereo Bus Compressor, and the Warm Audio Bus-Comp.
Threshold: The Threshold control sets the level at which the compressor starts working.
Ratio: The Ratio control determines the amount of compression applied once a signal crosses the threshold. Using a setting of 2:1 as an example, for every 2db over the threshold the signal goes, its output is only 1db.
Attack: The Attack control refers to the time it takes for the compressor to kick in once the signal crosses the threshold. A fast attack time will clamp down on transients, while a slower attack time will allow more of the transient through before compressing.
Release: The Release control determines how quickly the compressor stops reducing the signal after it falls below the threshold. Adjusting the release can help make for a more natural sound.
A limiter is simply a compressor with a ratio of 10:1 or higher. A “brick wall” limiter will have an extremely high ratio of 100:1 or even infinity to 1 to ensure the signal does not exceed a set level.
Each type of compressor will have a unique sound, which explains why most recording studios have a variety of compressors on hand. Once you’ve chosen the type of compressor for your needs, it’s time to set the threshold. Adjust the threshold setting so the compressor reacts to the louder transients of whatever track you’re compressing. If the gain reduction meter is showing constant compression, you should probably raise the threshold so it only reacts to the part of the sounds you want compressed. Once your threshold is set, adjust your attack and release times to shape the sound. Of course, there’s no one-size-fits-all setting for these controls, so use your ears and experiment until your track sounds great in the mix!
For over 30 years, Vintage King has been committed to equipping our customers with the very best recording gear, expert advice, and professional studio install services. Our award-winning team is dedicated to helping you find the best compressor for your recording studio. As musicians and engineers ourselves, we have hands-on experience with all of the most popular compressors and limiters. The Vintage King team is committed to helping you find the right compressor for your needs, so call us today at 888.653.1184 to find the best compressor for you!
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Dynamic processors are an engineer's secret weapon, they not only offer control of extreme peaks of a performance, they also add analog warmth and vibe to anything you run through it.
There are a few different style compressors to be aware of. Optical compressors, such as the LA-2A, are often described as “smooth” and “warm”, and usually a go to compressor when tracking vocals. They have fixed attack and release controls, as well as a fixed ratio, typically 3:1. They are typically equipped with two controls, threshold and make-up gain. The threshold control allows you to adjust the point of when the compressor will engage. The makeup or output dial is to add back the gain that was lost in the compressor's gain reduction. Optical compressors come in solid state, and tube versions.
Discrete audio compressors, such as the 1176, provide a few more control functions, and are often referred to as “aggressive”, but they can be used subtly to achieve a warm, smooth sound. They have independent controls of attack and release to dial in to the rhythm of the song. The input control adjusts the level being sent into the compressor, and the output control is to add additional gain that was lost from the gain reduction. Discrete compressors also come in solid state and tube options.
Limiters can be used on a source to set a “brick wall” that signal cannot pass. This is ideal when a drum bus has extreme transients, and continues to overload the bus. Or on a mix bus that is being pushed to the limit. A limiter is a great way to make sure that a mix will not blow up any speakers you play them through.
Our compressors, like our classic stereo compressors shown above, come in all shapes and sizes, from mono units, to eight channels, and more. When deciding on the best compressor for your rig, make sure you think about how many channels you would want to compress at one time. In a smaller studio setup, a single channel or dual channel might work for everything in your recording or mix.
Some audio compressors can be used in a side chain configuration, which can allow you to trigger the compressor or limiter from an external audio signal. This can be used to “duck” the bass whenever a kick drum is hit to make more room for the attack, or “duck” delays and reverbs every time the vocalist sings.
With so many options available, it can be overwhelming figuring out what compressor or limiter will work best for your setup. Our sales team at Vintage King is highly trained in all the models we carry, and will be glad to help find the right fit for your studio. Contact our team here!
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