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TOP 20 BEST COMPRESSORS OF ALL TIME 1 TELETRONIX/UREI/UNIVERSAL AUDIO LA-2A

And finally The number one spot goes to a piece of outboard that has surely graced more hit records than any other: the deceptively understated, flexible and silver-fronted LA-2A. Originally introduced way back in 1965 by Teletronix, the LA-2A went out of production in 1969, returning for a couple of short production runs before being reissued by Universal Audio in 2000. A studio staple for the best part of five decades, it has found a new generation of retro-loving fans in any number of plugin reproductions, from Waves CLA-2a and Cakewalks CA-2a to Native Instruments VC 2a and Universal Audios own official LA-2A. The plugin versions prove just how relevant the LA-2A remains to this day. Itll happily work its magic on synth bass, 909 kick drums, claps and snare samples. What is it that makes this unit so special? Is it the valves used for input and output gain (and the lush warmth they impart)? Is it its famed ability to take a good sound and return something better? Is it its simplicity? Or is it the unique compression curve imparted by the optical compression circuit? Its all of those things and more. The simple fact, demonstrated time and time again, is that the LA-2A can generate wonderfully musical results on a hugely wide range of material. Top producers revere the LA-2A for its subtle warming characteristic it can be as transparent as you want on vocals but it can also be hit hard to yield a sizzlingly overdriven signal. Its also frequently used as part of a vocal compression chain, working in series with another compressor such as an 1176 to yield silky-smooth vocals. The LA-2A can be hit hard to smooth off the biggest peaks before running the signal into the 1176 to tidy up whats left, or vice versa. When valve gear went out of fashion in the late 60s, the LA-2A was superseded by the solid-stateLA-3A. But the 3A never enjoyed the same status (or sales) as its predecessor, which still five decades since its inception stands supreme among the finest boxes in the business. Simply the best.

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2 UREI/UNIVERSAL AUDIO 1176

In 1966, Universal Audio founder Bill Putnam redesigned his successful 175/176 limiting amplifier design using FETs instead of valves. In doing so he created the first incarnation of the 1176 Peak Limiter, a box that would go on to find a home in almost every serious pro studio in the world. The main selling point of the all-solid-state device was its ultra-fast attack time a startling 20 s. It offers no threshold control just input and output dials, with the amount of compression decided by the input level. Sound-wise, the 1176 can be many things, but it is probably best known for the energy and high-class grit it bestows, a musically-pleasing pushing of the tone in the lower mids. Think big. But also think intimate. Thats the 1176s dichotomic charm. For grabbing vocals and placing them at the front of the mix its near impassable. But itll also work on just about anything else, from kicks, snares and claps through to synths and even full drum sub-mixes. In addition to the four standard ratios selected via push buttons on the front panel, engineers soon discovered a secret (and unintended) trick up the 1176s sleeve. By pushing in all four buttons simultaneously, the unit can be forced to behave in a completely different manner to the way in which Putnam intended, with seriously assertive results. The high ratio, often distorted results of this all buttons in (or Brit) mode can be explosive on drums and aggressive on bass. In the 1176s long history, there have been many incarnations of the blue-striped original, some better than others. If youre investing in one of these vintage beauties make sure you choose your revision carefully. The most recent and current is the black-face 2000 re-issue, recreated from the original designs. The 1176 has made a towering contribution to production history. Decades after it first delivered its trademark thwack to an underwhelming snare, its still rightly at the top of many producers wish lists. There are many software takes on the 1176, from UAs official versions through Waves CLA-76,Softubes FET Compressor and Native Instruments VC 76 to Antress tasty freeware Seventh Sign. To this day, if a compressor uses the word FET anywhere in its name, chances are it takes at least a little inspiration from the 1176.

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3 FAIRCHILD 670

The stereo Fairchild 670 tops at least three lists: its undoubtedly the most expensive compressor in the world; at 30 kilograms its certainly the heaviest, and it is most importantly the undisputed king of variable-mu valve limiting. The term vari-mu here refers to the way in which the compression ratio changes dynamically in response to the signal level. The result is a unique form of soft-knee compression which responds differently depending on the type of signal which is fed into it. The 20-valve behemoth delivers nectared attitude across a range of applications, but its most famous trick is to bestow a silky, creamy, liquid gold to the mix. This is the definitive mastering limiter. The obvious downside of owning one of these rare dream machines is the scarcity of valves (and matched pairs thereof) and the often hefty ongoing maintenance costs. Oh, and theres the small matter of its second-hand value; weve seen Fairchilds advertised in recent years for 30,000 or more. Well freely admit that only the most wealthy producers could ever dream of owning a Fairchild, but we never said that this was meant to be a list of the most affordable compressors. Luckily, for those on a more realistic budget, there are several plugin versions that offer their own take on the legend, including those from Universal Audio, Waves and IK Multimedia. Some might argue that none of the software emulations sound exactly the same as the real thing, but with such a price differential thats probably fair enough. For most of us, theyre as close as well get to the vari-mu royalty. Avid Bundle

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4 TUBE-TECH CL1B

In 1987, Tube-Tech founder John G. Petersen unveiled the CL1B compressor, his take on the classic optical compression method pioneered by the Teletronix LA-2A but with an additional level of control (unlike the LA-2A, the CL1Bs ratio, threshold, attack and release settings can all be changed manually). Since that day more than 16,000 of the single-channel units have left the companys Denmark headquarters for studios all over the world, where it has found a legion of fans who use it to treat (and track) everything from vocals and bass, to guitars and keys. The caveat: the CL1B is not noted as a character piece; it does warmth and it does smooth, and it does both transparently: you can dial in a lot of compression with barely any noticeable artefacts. For that reason it is one of the favourite go-to compressors for vocals (often in series with an 1176or LA-2A). The sheen it imparts, though subtle, errs on the side of poppy, and youll find many users among hip-hop and urban/pop crossover producers Thats not to say you cant get results with slightly more grit: extreme settings can deliver some very tasty valve saturation. Above all its a box that demands and rewards both experimentation and time investment. Even very slight tweaks can make a big difference to results. Overall, this is a truly contemporary compressor, with a unique sound which bears comparison to the vintage classics. Its easy to fall into the trap of thinking the CL1B isnt doing much even when pushed hard. But that, in many ways, is its understated beauty, as well as its winning character trait. And its why many premier league producers and engineers claim its the single piece of outboard they couldnt live without. The hardware retails for around 2,300. The plugin model developed by Softube ranks among the most authentic circuit-modelled hardware emulations weve ever heard.

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5 EMPIRICAL LABS DISTRESSOR

It was always inevitable that this list would contain a lot of vintage gear. The simple reason for that is that there really havent been many major developments in the world of compression for quite some time. Empirical Labs Distressor is one of the few exceptions. A true modern classic with a sound all of its own, Dave Derrs striking big-buttoned box, first introduced in 1995, has already assured itself a place in hardware history and probably has a ubiquity in studios worldwide enjoyed previously only by Teletronixs LA-2A. The Distressor features a unique combination of digitally-controlled analogue circuitry, which offers users the best of both worlds: exacting control and a warm, chunky, sometimes vintage sound. Sound-wise, the Distressor is probably most often used to add heft and weight to basslines, snares and kick drums. But its a wildly capable beast: it can add excitement and energy to vocals and synths. Flexible, powerful and with rock-hard balls when required, the Distressor is a modern-day desert island compressor; if we were allowed to choose just one unit from our list, the Distressor would be a strong contender. Its an in-your-face, aggressive all-rounder which is ideally suited to electronic music. Theres even a stereo link option if your wallets fat enough to buy a pair. Special mention also must go to the Fatso, which offers a near-unique combination of analogue tape simulation and compression. Pensadia Sor8

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6 SSL G-SERIES BUS COMPRESSOR

The G-Series Bus Compressor is a VCA-based stereo unit from the UKs Oxfordshire-based Solid State Logic, derived from the circuits found in their legendary 4000 G-series console. The SSL excels at one thing only: stylish-as-hell bus compression, either on sub-mixes or the master bus itself. For glue purposes, it reigns pretty much supreme: a holy grail compressor that does both transparency and glue with panache: making a mix louder and punchier while imparting an expensive, modern-sounding cohesiveness that has probably shaped the sound of more hit records than any other over the past three decades. For many producers in just about every genre the SSL is such a no-brainer that it sits on the mix bus for every single mix. It has a unique ability to make a good mix sound like a finished track. As far as settings go, there arent many to tweak. Just change the attack and release settings so that the compressor is responding to the tempo and feel of the track (if in doubt, keep attack fast and park it in auto release mode). For ratio, choose 2:1 for master transparency, 4:1 for slightly more obvious colour and 10:1 for a tougher, more characterful bus sound. The G-Series Bus Compressor has a host of plugin emulations, some of them officially sanctioned, including one by Universal Audio, one by Waves and SSLs own version. However, our favourite SSL-inspired plugin is Cytomics The Glue look out for a new version of it in Ableton Live 9.

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7 ELYSIA MPRESSOR

Every so often a new compressor enters the market that changes the game and sometimes even the wider signal-processing landscape. The Distressor was one. Elysias mpressor is another. Taking even a cursory glance at the mpressors marketing text tells you the kinds of sounds you can get. Think fat, freaky and extreme. And for dance and high-energy pop, the mpressor with its negative ratio offering is a dream machine. Which is not to say its a one-trick pony. Oh no. Sure, it does extreme sound processing and some of its tricks are genuinely unique in the hardware world but it does considerably more. Velvet vocals. Slammed basses. Fluid pianos. Aggressive distorted synths. Precision mastering Yeah, its flexible too. Maybe its most at home and shines best when pumping the mix bus in a way that Parisian sidechain abusers could only have dreamt about all those years ago. But even that doesnt quite do the mpressor full justice. Maybe its real strength and its magic is its creative soul. Its not just a signal processor its a signal mangler. Its a compressor with the heart and brawn of a kick-ass synth. The hardware version isnt cheap, but the mpressor is also available as a much more affordable and outstandingly good plugin.

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8 MANLEY VARIABLE MU LIMITER COMPRESSOR

There arent many compressors that can be compared to Fairchilds legendary 670 without a certain amount of hyperbole and wishful thinking. But Manleys Vari-Mu can. And as a result its found inside mastering houses and high-end studios the world over. The solidly built Vari-Mu (which features three valves and two transformers per channel) can be employed for tracking purposes but its in mastering that its skills truly shine, where it can bring a remarkably transparent sheen and silk of the very highest quality to a mix even when pushed hard. Think A-class polish. Think the finest gloss. Its relatively slow attack speed means that punchy it is not, but for material that needs glue, transparent definition, substance and an open richness, the Vari-Mu can do something pretty special. And for around the 3k mark you would hope so too! A true modern classic.

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9 API 2500

There are some compressors that have a wide application and some that do one thing very well. Firmly and unashamedly in the latter group is the API 2500, which is all about bus compression, either on the full stereo mix or a drum sub-mix. In many ways the American equivalent of the classic SSL bus compressor, the 2500 is known for its ability to shape the punch and tone of full mixes with both accuracy and flair. As such it is mainly used for mastering and bus applications, its trademark sound evident on many chart-topping hits. Although the 2500 can do subtle, with a sonic imprint that is sweet, clean and highly musical (and with near-inaudible noise or distortion), it shines when pushed, with much of its magic bestowed by its patented Thrust circuit. With Thrust switched to Loud the compressor generates a chest-hitting punch that brings out the attack of rhythmic material and delivers an attitude and glue to the bottom end of a mix that most other compressors cant come close to. The SSL gets most of the credit when it comes to bus compression, but in many ways the clean, clear, up-front sound of the 2500 may even be a better choice for electronic music. (Neves 33609 also deserves credit here. It doesnt make our list, but as an alternative to the SSL its worth mentioning alongside the 2500.) The 2500 doesnt come cheap ($2,995 RRP), but Waves (relatively) faithful modelled recreationoffers a similar flavour for a considerably more affordable $300.

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11 NEVE 2254

Rupert Neve is best known for his legendary preamp designs, but his considerable talents dont end there. Like the SSL bus compressorand the Chandler TG1, the 2254began life as a module in Neves legendary 1970s mixing consoles, applying its trademark coloured sound to signals fed into it. As youd expect from a classic Neve product, it isnt exactly transparent instead, think rich, think thick, and think round. The 2254 can do great things to vocals especially thin or over-bright recordings as well as exposed keys, guitars, and bass tracks. Investing in a second unit allows for stereo bus operation, where the 2254s abilities to glue stereo sub-mixes together can compete with other top-league bus compressors. Originals remain highly sought after. Youll be lucky to pick one up for 2,000, then youll need to have it built into a rack enclosure with a custom power supply. An alternative is Neves own reissue, the rack-mounted 2254/R (1,750), which uses the same internal architecture, components and hand-wound transformers as the original and which delivers very similar results. In the plugin world, modelling is available from Waves V-Comp, although as with most emulations the question of how close the plugin gets to the real thing is a matter of ongoing debate.

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12 DBX 160

Widely considered to be one of the finest VCA compressors ever built, the diminutive dbx 160, first introduced in 1971, is all about the knock. The solid-state 160 (sometimes referred to as the 160VU in reference to its prominent front panel VU meter) is unusual for a VCA model in that it displays distinct nonlinearities, making it a character piece, and like many of the other early compressors, the 160 has a very simple front panel, with only three dials for threshold, compression and output gain. Sound-wise the hard-kneed 160 isnt exactly flexible, though what it does it does very well. Which is, specifically, a rough, warm and grainy punch which can be highly effective on bass parts synthesised or real reinforcing both intelligibility and presence. In electronic music production, the 160 has found uses to bring out the knock and thwack of drum sounds particularly kick, snare and clap for an unmistakably punchy sound. Sure, its a bit of a one-trick pony, but it performs that trick almost perfectly. Original 160s appear on the second-hand market fairly regularly, but be sure to track down the original model if youre looking for the classic sound. dbx have made numerous similarly named products (the 160X, 160XT, 160SL, 160A) over the years and all of them sound slightly different. The 161 is virtually identical to the 160 but has unbalanced inputs and outputs. In the plugin world, models are offered by Universal Audio, NIs VC 160 and Stillwells Major Tom.

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13 UREI/UNIVERSAL AUDIO LA-3A

Marking a departure from the valve design of the wildly successful LA-2A, the LA-3A, debuted in 1969, combines the UA transformers from the 1176 with the electro-optical attenuator of the LA-2A to offer a unique sonic signature. Where the LA-2A does warmth and colour, the 3A does rich, hi-fi punch particularly in the lower-mids, which explains why more than a few of the worlds finest engineers claim that the 3A is the worlds best guitar compressor. Well into its grand fifth decade of life, the LA-3A, remodelled by Universal Audio in plugin form, remains a hugely respected studio stalwart at the top of the tree.

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14 CHANDLER TG1

A recreation of the infamous TG12413 limiters found in Abbey Roads EMI consoles in the late 60s (used by, among others, The Beatles, Pink Floyd and the Rolling Stones), the gun-metal grey TG1owes much to the Fairchild 670, the sound of which the EMI engineers of the time attempted to recreate. But in fact the EMI limiter and the TG1 in turn have a sound all of their own, with limiting taken care of by an unusual diode network that generates a characteristic overdriven warmth. The TG1 does one thing very well: warm, rich, fat and unsubtle; transparent it is not. It can pin a synth line, keys part or bassline in place, but its overriding talent is on drums, where it delivers serious body. With a retail price of around $4,000 (pricey but admittedly a hell of a lot cheaper than a Fairchild) the TG1 is a studio luxury, but its unique abilities are famed. This is a seriously powerful beast with an unashamedly vintage sound.

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15 GATES/RETRO INSTRUMENTS STA-LEVEL

Rare, expensive and with a look like something that sat on the instrument panel of a WW2 tank, the original Gates Sta-Level all but defined the sound of 1960s pop radio. Although its two-knobs-and-two-switches front panel is rivaled only by the likes of the LA-2A in the simplicity stakes, its the musicality of the non-linear attack and release times as well as the impact of its highly cherished circuits and valves that make this piece so prized. Further comparisons between the vari-mu Sta-Level and the LA-2A only serve to show how different the two are: while the LA-2A is undeniably more flexible, the Sta-Level supplies a retro girth, personality and colour that the LA-2A most often cant. On vocals it can do useful and occasionally amazing things; it can make acoustic guitars sing; and it can revitalise lacklustre synths. But its basslines that really benefit from the Levels muscle: it offers a steroid injection to limp subjects, morphing them into bigger, fatter and more aggressive beasts. Much better known to American producers than Europeans, the Sta-Level is beginning to make a serious impact around the world some 50 years on thanks to a faithful reproduction by Retro Instruments. The only plugin emulation we know of is the Sknote GTS-39.

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