In the annals of recording history, these seven compressors have accomplished the seemingly impossible — they’ve earned the unanimous acclaim of the world’s pickiest audio engineers. They’ll turn your drums into grooving cannons. They’ll solidify your bass and wrap it up in a warm blanket too. They’ll take your lead vocal and anchor it front and center in your consciousness. In other words, these are seven compressors you should aspire to have in your studio, and here’s why.
Empirical Labs EL8 Distressor
Dynamics control and saturation in one
Spend some time familiarizing yourself with the EL8 Distressor’s control set, and you’ll find it’s like having several different compressors in one unit. The Distressor is actually a digitally controlled analog processor, allowing you to switch different circuits in and out. And top engineers — including greats like Bob Clearmountain and Mick Guzauski — enjoy using it as much for its variable harmonic distortion as they do for its compression and limiting. It’s great for adding saturation even if you’re not compressing anything. The combination of analog dynamics control and built-in saturation makes the EL8 Distressor a top choice for locking drums, bass, and rock vocals into the mix.
Find out more about the Empirical Labs EL8 Distressor.
Tube-Tech CL 1B
Clear and detailed, even when driven hard
While it’s not a “vintage” compressor (it was introduced in 1991), the Tube-Tech CL 1B has become a go-to compressor for vocals and bass in Nashville and LA studios. The reason? Not only does it sound super-smooth with amazing detail and clarity — it maintains this disposition even with high ratio/low threshold settings. Even the most out-of-control vocal takes (dynamically speaking) can be wrangled into submission with the CL 1B, without sacrificing the energy of the original performance. In fact, we’d go so far as to say the CL 1B will sound sweet with just about any settings you wish to dial in — it may be impossible to make this compressor sound bad.
Read more about the Tube-Tech CL 1B.
Manley SLAM!
Compression and limiting in one
Even though it also has a dual-channel mic preamp, the SLAM! has earned its place in studios worldwide for its combination of electro-optical and FET brickwall limiting on both channels. Its premium components, design, and power supply all add up to a practically silent noise floor, allowing you to treat delicate sources with the utmost sonic respect. But engage the limiters, and you’ll be able to absolutely slam your audio without ruining its sonic appeal. When you need rock vocals that absolutely own the front and center space of your mix, the Manley SLAM! is your solution.
Get more info about the Manley SLAM!
Rupert Neve Designs Portico II MBP
The same high-voltage topology found in Neve consoles
The Portico II MBP boasts the same Class A signal processing circuitry found in the acclaimed 5088 mixing console, offering the massive headroom and the detailed sonics you’d expect from a world-class mastering desk. Each channel features a versatile compressor (with multiple VCA modes) as well as a limiter, and the channels can be linked for precise stereo operation. Simply putting it in your signal chain yields big sonic benefits (nothing beats the sound of a quality transformer!), and using it to tame your dynamics will definitely give your mix that glued-together sound that makes professional mixes stand out.
Find out more about the Rupert Neve Designs Portico II MBP.
Solid State Logic XLogic G Series Compressor
Yes, “that” SSL compressor
The SL 4000 console is one of the world’s most successful mixing consoles, and a big part of its iconic sound is its center compressor section — and that’s what you get in this rackmount version. It’s the legendary SSL G series stereo bus compressor, perfect for gluing a mix together or adding punch and drive. And the external sidechain input gives you the mixing flexibility engineers love about working with the full console. Complete with the same VU meter as found on the console, the XLogic G Series Compressor is the famous SSL sound.
Shop for the SSL XLogic G Series Compressor.
API 2500
Versatile stereo bus compression
Like the G Series compressor above, the API 2500 borrows premium circuitry from a world-class mixing console. Based on the legendary API 2520 op-amp, the 2500 can be used in stereo or dual-mono configurations. Either way, it’s the sound of rock and offers two distinct voicings for “old” (feedback) or “new” (feed-forward) compression methods. The sound is full, rich, and punchy, and it’s surprisingly fast at dialing in great sounds. With the ability to serve double duty as a pair of mono compressors or a stereo bus compressor, the API 2500 is a workhorse dynamics processor for any studio.
Check out the details of the API 2500.
Chandler Limited TG12413 Zener Limiter
Based on vintage EMI circuits from Abbey Road
If you’re interested in the history of recording, then you probably know that the vintage EMI circuits used at Abbey Road studios are legendary. Chandler Limited’s Wade Goeke has done the recording world a huge favor by bringing many of these designs back to life, like the EMI TG12413 Zener Limiter. Based on the actual units used in sessions with the Beatles and Pink Floyd, the Zener Limiter combines dynamics control with a full channel strip to give you a complete and authentic Abbey Road channel path. Even simply driving the input yields rich saturation and harmonic delights. From tracking to mixing to mastering, the TG12413 can handle it all and will sound amazing while doing it.
Find out more about the Chandler Limited TG12413 Zener Limiter.
Do you need these compressors to make great music? Not at all. Are they worth saving months or years to add to your studio’s tool set? Absolutely. Not sure if adding a premium compressor or limiter to your rack is the best next move for you and your studio workflow? It just might be — give your Sweetwater Sales Engineer a call at (800) 222-4700, and we’ll be happy to advise!
