A handful of classic hardware compressors have won through over the years, and you can find the vast majority of these in software form. If you’re new to them, though, it can be tough to know just how to dial in ‘that’ sound, so let’s take a look at three bona fide compression legends and give you some pointers.
The Urei 1176 is an FET (Field Effect Transistor) design heard on countless hit records. It has simple controls (input, output, attack, release and ratio) but can achieve extremely fast attack and release times. With fast settings, it’s great for adding bite to vocals and bass. With a slower attack, fast release and high ratios, it creates amazing pumping drum overheads. Try emulations from Universal Audio, IK Multimedia, Native Instruments, Softube and more.
SSL’s Bus Compressor is best known for its glue-like effect when applied to the entire mix via the master buss. Try the 4:1 ratio with a slow attack (30 ms) and a fast release (0.1 sec). Alternatively, use the 2:1 ratio (which has a softer knee) with a slow attack (10 or 30 ms) and the auto release. In both cases, aim for gain reduction of between 2 and 4 dB. Emulations can be had from SSL themselves, Waves, Universal Audio, and many more.
The valve-based Fairchild 670 commands big bucks second hand. It can work in stereo and mid/side mode and has unusual parameter labeling, such as six ‘time constant’ settings that handle attack and release (1 is fastest, 4 slowest and 5 and 6 more program dependent), and a DC Bias screw for ratio (2:1 to 30:1). In use, it can be great on drum sub groups, vocals and, if you can just tickle the gain reduction, on the mix buss. For emulations, check out Universal Audio, IK Multimedia, Slate Digital and Waves.