2:43AM's Non-Scientific Compressor-Plugin Comparisons

I've been testing and demoing a few compressors by Waves, specifically the DBX 160, the API 2500, the CLA-76, and the SSL Bus Comp.  I don't like buying things I don't really need (easier said than done), and I usually try to check something new against what I already have.  My DAW-world is essentially Ableton Live 10 Suite now, with some older projects still residing in the SPLAT realm, just waiting--and begging--to be released from the prison.  So no more Sonitus compressor (still one of my favorites) or ProChannels for me!  But it got me thinking...in testing the Waves demos, I should do a comparison to some older Cake comps as well.  Without further ado, I give you my non-scientific comparisons!  Let me know what you think, and if I'm way off the mark on this garbage/waste of time.  Thanks!
 
(Oh, I should mention that the tests were performed in Live and SPLAT, A/B'ed and level-matched against an inverted signal so only the differences are heard.)
 
Cakewalk/Sonitus Compressor: Oldie but still a very good compressor!  Wish I could still use it in Ableton Live but it's DX. Very very transparent, with no distortion or artifacts. Quite smooth!
 
Cakewalk ProChannel PC76: Kind of hard to dial-in, IMO. Crunchy. Compression seems weak compared to the Waves CLA-76, however it does add a little punch. Definitely not as good as the CLA-76…not even close.
 
Cakewalk ProChannel PC4K S-Type Bus Comp: Compression seems extremely weak compared to Cytomic’s the Glue, Live’s Glue compressor, or any other compressor for that matter. Attack times don’t seem to jive with expected results. Maybe a slight bit of punch added, but this is nowhere near as good as the Waves SSL Bus Comp.
 
Ableton Live’s Compressor: Absolutely transparent, no distortion, no artifacts, and very, very smooth.
 
Ableton Live’s Glue Compressor: Relatively smooth on attack and release with some very light crunch/artifacts on the knee.  This compressor behaves much differently than the bus compressor it’s supposed to imitate, the SSL master bus compressor.  This comp just is a crunchier and pumpier version of the above compressor.
 
Cytomic the Glue: Behaves and sounds 99% the same as Live's Glue compressor, which makes sense considering it should, in fact, be the same compressor.
 

Variety of Sound Density mkIII: Can adjust punchiness by tweaking the “color” screw. This compressor can sound punchy, but can get harsh when the Timing knob is on P1 or P2. Adjusting the “Strict/Relax” screw helps a little bit, but the compressor definitely sounds better with slower timing, i.e. P3 to P6. I think this would make adjusting the compressor pretty difficult in the mix.
 
Waves SSL Bus Comp: Relatively smooth on attack and release with some very light crunch/artifacts.  This compressor behaves quite differently than the Glue compressor.  Actually, it’s better despite all “the Glue” hype on KVR and GS. The Waves SSL Bus Comp let’s more “thwack” through, and I can hear how it could make mixes, drums, and basses more punchier and have that “sought-after” sound.  If this is supposed to replicate a real SSL console's bus comp, then it all makes sense.  I never heard what the SSL bus comp is supposed to sound like until I demoed this plugin.
 
Waves API 2500: Hard to describe this one. It has some deep, beefier crunch, making sounds and frequencies come through and punch out, especially with the feed-forward (new) mode. The Tone section is definitely where this compressor shines. Character definitely happens in the “Med” and “Loud” modes. This compressor is pretty sweet.  Maybe on the wish list for this one. I can get similar results with FF Pro-C2 and some careful EQ'ing, but this wastes time.
 
Waves CLA-76 (Blacky Mode): Punchy and smooth. Moving the release knob adds rhythmic vibe, with the compressor riding the kick drum and creating a wave-like effect. Increasing the release knob increases punchiness/pumping.  This compressor lives up to the "1176 hype" and sounds like it can definitely make drums pump. The “all buttons-in” mode pulses/limits heavily but still sounds good and musical despite more crunchiness.  I'd definitely consider buying this plugin.
 
Waves CLA-76 (Bluey Mode): The same operation as above, but brighter than “Blacky” mode.
 
Waves dbx 160: Smooth on the attack and pop.  Let’s drums/sounds punch through without harshness. One of the best parts of this compressor version is the mix knobs, making it a great parallel processor. This is a very punchy compressor.  This one is also on my wish list.
 

Leadfoot

2:43AM
Hearing what this plugin does (or doesn't do) just bolsters my opinion of PSP: they kinda suck.

I can't say I agree with your opinion on PSP. I've got the Xenon limiter, Master Comp, PSP 85 delay, and 2445 and Springbox reverbs. I've always found their plugins to be of great quality. Maybe Mixpressor2 is an exception, but I don't think it's fair to say that PSP sucks. I do appreciate the thread, though.

Thanks for the post! I don't have any of those plugins as I only own the MixPack2 set. I mainly bought the pack for MixSaturator2, which seems to unfortunately fall into the same category of "What's Going On Here?"  I've invert-tested it as well, but I'm left scratching my head. Take the following as an example of what I mean. MixSaturator2 has mainly two modes of saturation: "Valve" and "Tape." There is a third, "Digital," but it doesn't do anything (ha!). Now, with valve (aka tube) saturation, using a 1kHz tone, I'd expect even harmonics (2k, 3k, 4k, 5k...). Likewise, with tape saturation I'd expect odd harmonics (3k, 5k, 7k...).  Proving this theory, both Alloy 2's exciter, Ozone 6's exciter, and Fabfilter Saturn all replicate this flawlessly, with some adding more "character" into the mix.  PSP MixSaturator2, however, does not. It doesn't matter if you select Valve1-2-3 or Tape1-2-3. They all produce the same result, just with varying loudness.  Both tape and valve settings produce odd harmonics.

By the way, I'm in complete agreement with you on the Waves API 2500 and dbx 160 comps. Awesome...

Yeah, I never understood what people saw in the PC4KS either, or the PC76, for that matter. I do like the CA-2A, though. I agree that the Waves SSL Bus Comp is the nicest sounding SSL emulation I've heard.

Thanks for sharing your findings 2:43AM.
I found it very interesting and it also reminded me that I have never used the Waves SSL E which I got in a deal a while back.

So I plonked it on a couple of vocal tracks I was working on today and bingo! What a great open, transparent sound and that was just using a preset and tweaking the levels. I am so impressed it might find its way into my standard template.

I will definitely pick up your other recommendations when they are in the sales.

Thanks

I don’t really recall much fanfare about the cakewalk pro channel compressors other than ca2a and lesser extent concrete. More than anything the two bundled ones were seen as convenient but unspectacular.

dubdisciple
I don’t really recall much fanfare about the cakewalk pro channel compressors other than ca2a and lesser extent concrete. More than anything the two bundled ones were seen as convenient but unspectacular.

 
Agreed. CA-2A is regarded as one of the best emulations of the LA-2A. Apparently, there's some good code in that little gray GUI!  PC76 and PC4KS were convenient indeed, but rather mushy and hard to dial in, IMO.

Rbh
I use the Sonitus comp quite a bit probably 60% of track inserted comps. The probably another 25% are UAD based comps for buss or master channel work. I use fab filter here and there.
 
Did you use any basic metric when comparing them all ? meaning - 4:1 ratio and metering -4db gain reduction on all comps   etc etc ? I understand you level matched them.

I basically first ensured that silence occurred when the opposite-phased track was mixed into the master. Even if a plugin inherently added or subtracted gain, I zeroed it out by ear until silence or near-silence occurred.  Since my findings were essentially remarks on what I heard, I did level-match them with a peak-meter utility in Ableton Live as well as used Spectrum (and Voxengo Span) for confirmation of what was going on.  The analyzers were used to confirm if any harmonics were being generated, albeit loosely and not under great scrutiny.
 
On a side note, the dbx 160 comp is going to a tough sell...er, buy...for me.  Once again, I am my own worst enemy! Experimenting around, I put an instance of Alloy 2 on my kick drum track and used the multi-band transient shaper to bring up just the high-end smack of the kick.  This replicated the dbx 160 attack pretty well, with even better (and more controllable) results.  The bottom-end was better preserved using Alloy 2 vs. the dbx 160.  The kick drum had better cut but retained the punch and thud.  Something to try if you haven't dusted off Alloy 2 for awhile!

But wait, there's more.  Turns out that compressor lookahead makes a night and day difference in harmonic generation!  With the adjustable lookahead of FF Pro-C2, all harmonic generation is eliminated, resulting in a super clean and extremely transparent compression!  Furthermore, lookahead should be adjusted depending on the frequency content of the material.  At 1kHz, lookahead need only be 0.5ms or so.  At 60Hz, lookahead should be at least 8ms, which makes sense since 1/2 cycle at 60Hz is 8.33ms.  Down to 40Hz needed at least 13ms. Check it out!
 
http://www.efextek.com/pl...ds/Pro-C2LookAhead.avi
 

Grem
Looked at the last video. The on with the look ahead stuff. Interesting!
 
The lower the frequency the higher the look ahead need to be to get rid of generated harmonics.

 
Exactly! Never knew that to be the case.  Also, most compressors either have no lookahead or a fixed lookahead.

Tony, I am trying to run some of these tests on some comps (and other plugs : ) but I can't get MAnalyzer to update in real time. Well, I haven't been able to see any harmonics that are being generated. : )
 
What settings are you using on MAnalyzer (if you don't mind me asking)?