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What is a Compressor?
Before we go into which compressors are available in Logic Pro, it’s good to know what a compressor is. A compressor is a processing tool in a DAW (Digital Audio Workstation). In short, what you do with a compressor is squeeze an audio signal and shape it by, for example, evening out dynamics and raising the average level. You can also use a compressor to achieve a certain sound in your song.
Read more about compressors here
Compressors in Logic Pro
Included in Logic Pro is a compressor that emulates some famous analog compressors. In this guide we’ll go through how they work and how you can use them.
Platinum Digital
This model is Logic Pro’s own digital compressor. It has a transparent sound and a transient response (ability to reproduce high and sudden sounds, e.g. hand claps) that is fast and transparent. Platinum Digital works well on any sound. There’s also the option to add distortion for a more “raw” sound if you want the coloring (character) of analog hardware.
Studio VCA
Studio VCA is an emulation of the Focusrite Red 3 Dual Compressor/Limiter. The Red 3 is a dual mono/stereo compressor and limiter released in 1994. Its success earned the Red 3 a TEC Award for Outstanding Technical Achievement in the “Signal Processing Technology” category.
Studio VCA works well on bass, vocals and guitar due to its fast and tight response, but also on mix buses. The emulation is fully discrete and balanced which means it has a clean sound and does not color the audio like other analog compressors. Even though Studio VCA has a more transparent sound, you can give your audio a more analog feel with the distortion control.
So far it’s one of Focusrite’s most recognized hardware products. It’s also the first choice of compressor for many of the world’s top mixing engineers, such as Chris Lord-Alge who religiously places his Red 3 on the mix bus.
Studio FET
Studio FET emulates the UREI/Universal Audio 1176 Rev E “Blackface” compressor/limiter. UA founder Bill Putnam Sr. designed the original Universal Audio 1176 compressor in 1967, as well as the Vintage FET compressor. The 1176 is known for being used on some of the biggest recordings in history, and is a favorite among producers and mix engineers. Its lightning-fast attack and release times are ideal for drums, bass or guitars and for pushing vocals forward in the mix.
Studio FET’s aggressive sound gives a sense of energy that adds brightness and presence to everything passing through it. When driven hard it adds some in-your-face edge, making it widely known as a drum compressor. The 1176 also has a very distinct sound even when not compressing audio due to its unique circuitry. Some run audio through the 1176 with compression off just to get that special tone it imparts.
Vintage FET
The Vintage FET model emulates the UREI 1176 Rev H “Silverface” compressor/limiter. This design has gone through many changes over the decades, but the Rev H “Silverface” revision retains much of the signature sound of its predecessors. The biggest difference is a silver faceplate, a red “Off” button and a blue UREI logo.
It’s also known for lending its character to some of the greatest recordings in history and is a tool found in almost every professional studio. Its fast attack and release times are perfect for drums, bass or guitars and make vocals shine. Vintage FET’s aggressive sound gives a sense of energy, brightness and presence to everything passing through it. When driven hard it can add a desirable edge to your drums.
Classic VCA
The Classic VCA model emulates the DBX 160 series of compressors/limiters. Introduced in 1971, it was used on almost every major recording in the late 70s and throughout the 80s. Later models in the 160 series also became industry standards still frequently used today.
Classic VCA is considered one of the best drum compressors ever and the original DBX 160 has a proven track record. It’s known for its vintage character, aggressive punch and simplicity. The compressor’s tight and fast response makes it perfect for smashing groups/buses and adding a subtle “fatness” to everything from guitars to vocals. The DBX 160 is also legendary for its simple control layout and classic hard-knee compression not found in other VCA compressors.
Use Classic VCA to give a warm and gritty punch to your sounds. It’s very effective for boosting bass, synths, guitars and especially drums. It’s known for bringing out the “knock” and “thwack” of drum sounds, especially on kick, snare and claps. Put this model on an AUX track and run audio through it to apply parallel compression.
Vintage VCA
The Vintage VCA model emulates the legendary SSL G Bus Compressor. It’s considered “The Holy Grail” among bus compressors and has changed the recording industry since its introduction in the 80s.
It’s based on the famous master bus center compressor from the SSL 4000 G console. What’s distinctive about the SSL G Bus Compressor is
that it makes mixes bigger, more powerful and punchier while improving cohesion and clarity. From subtle and transparent dynamic control to more aggressive textures with peak limiting — with SSL G’s intuitive control layout you can easily dial in what you need.
The SSL G Bus Compressor is appreciated by top engineers for its ability to “glue” tracks together, and is perfect for adding punch to drums and percussion or taming piano dynamics. But the real magic shines when it’s loaded on bus tracks, especially the master bus. For that reason, put Vintage VCA on your master and hear your mix come alive!
Vintage Opto
Finally we have the Vintage Opto model, which emulates the Teletronix LA-2A optical compressor. Since its introduction in 1965, the iconic Teletronix LA-2A Leveling Amplifier has been heard on countless hits. Teletronix founder Jim Lawrence first used photocells to control audio gain in an innovative way. His ingenious optical compression design was a technical breakthrough that surpassed the stability and transparency of previous circuits.
Universal Audio founder Bill Putnam Sr. later bought this patented technology and continued producing the LA-2A until 1969. Even today the LA-2A continues to captivate new generations of retro-seeking enthusiasts.
For over 50 years the Teletronix LA-2A has been respected for its smooth, natural, musical compression. Known for its subtle, alluring and warm qualities, the original LA-2A’s tube-driven electro-optical attenuation circuits were revolutionary for their time. Top artists, engineers and producers praise its ability to work on anything you choose. Its fast attack and release offer a character more transparent than other compressors of its era. However, the LA-2A is best known for treating vocals.
Vintage Opto has some personality. Apply subtle transparent compression or dial it in hard to introduce sizzling overdrive that sounds awesome on bass, drums and guitars. In addition, its simple control layout and sonic appeal make Vintage Opto one of the most renowned tube compressors ever.
We hope this guide was useful to you in choosing compressors in Logic Pro. If you have more questions you’re warmly welcome to contact us! You can also read more about the Vintage EQ Collection in Logic Pro.
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