Logic Pro’s Compressor – Save your money and try this tool first!

If you own a copy of Logic Pro X, you may be familiar with the stock Compressor plugin, but did you know that its various modes are actually emulations of popular hardware compressors? 

Novice or intermediate enthusiasts would be forgiven for thinking that this “stock” tool does not hold its own against more premium and dedicated emulations from third-party plugin companies like Waves or Slate Digital. This, in reality, is false.

A sort of Swiss-Army plugin, the Compressor features a variety of options, compressions types, and extended controls such that it could be argued it actually has an edge over its competitors. 

While these modes are not strictly one-to-one copies, they are certainly inspired by the originals, and when used similarly, yield comparable results. Let’s have a look and identify the different modes of this plugin.

• READ MORE: What’s the difference between Ableton’s Compressor and Glue Compressor
• READ MORE: What are reverse fades and when to use them?

Modes & Emulations

Platinum Digital

This is Logic’s own compressor model. Apple describes it as “a clean-sounding compression type with a fast transient response”. 

Very fast in fact, given the plugin’s ability to provide an attack time of 0 ms! 

This mode is suitable for just about any application you may need a compressor for, and will not alter the character of your source material if transparent compression is your goal.

Studio VCA

This is an emulation of Focusrite’s popular Red 3 Compressor, and the actual unit is a favourite of top mixer Chris Lord-Alge on the mix bus. 

The main giveaway is the metallic red appearance and the knobs which match those found in Focusrite’s Red series hardware. 

This mode is great for bus compression as well as handling bass instruments or other low-frequency instruments like drums. 

While the original hardwire is fully discrete and therefore offers very little colouration, this version offers slightly more pronounced harmonic overtones which can be varied in character by switching through the distortion modes available in the output section.

Studio FET

An emulation of one of the most popular solid-state compressors ever, the Universal Audio 1176 Rev E “Blackface”. 

Famous for introducing ultra-fast attack times to studios it also functions well as a line amplifier when no compression is applied, adding some presence and brightness due to its unique circuitry and components making this very much a character tool. 

The original excels at levelling and adding character to drums, bass & guitar, and rock vocals, and this version does a great job of doing the same.

Classic VCA

Based on the dbx 160, this mode offers the fewest controls out of all the modes: Threshold, Ratio, and Makeup. 

One of the most used compressors of the 70s and 80s. It offers very fast and clean compression to all out beefy, punchy, and aggressive sounds. Especially popular on drums for its ability to bring out their “thump”, “crack” or “snap”, it has been a mainstay for producers like Eddie Kramer throughout his time at Electric Lady Studios and the rest of his career.

Vintage VCA

Inspired by what is probably the most popular bus compressor to date, and with a  multitude of plugin versions in existence, this mode emulates the SSL 4000 G Bus Compressor. 

Again, the knobs and grey appearance (spotted the theme yet?) all point to this. 

Capable of both slow and fast attack and release times, the original is famous for its “gluey” characteristics. 

This plugin is great at handling multiple groups of sounds, such as a full mix or individual instrument sub groups. 

I enjoy this particular emulation on male rock vocals as I find the upper-mid/treble harmonic enhancement to be a little more pronounced than other third-party versions.

Vintage FET

Another 1176 emulation. This time based on 1176 Rev H “Silverface”. 

Offering essentially the same functions and features as the “Blackface”, this version however has a slightly more noticeable effect on the mid range of instruments like drums which can add some perceived “edge” or transient enhancement. 

That said, a crunchy sound in the mid-range is developed in both modes if cranked enough. 

It’s best to think of these two versions more as different flavours of the same tool. 

Another thing that sets these modes apart is that the Blackface has a fixed Knee setting whereas the Silverface has a variable Knee control.

Vintage Opto

Modelled on the Teletronix LA-2A tube compressor, this mode is too good to overlook!

Based on the function of optical compression versus VCA or FET, this offers a unique sound compared to the rest of the modes. 

Controlled by two simple controls (Gain and Gain Reduction) the original unit features fast attack times and programme dependent, multi-stage release times, making it an excellent choice for recording or mixing vocals, bass guitar, and even drum shells. 

The Vintage Opto mode expands upon these features through the Logic Compressor’s additional range of controls, such as a possible ratio up to 30:1, adjustable Attack times and adjustable Release times. 

The original unit featured a Compress/Limit switch and a similar effect can be achieved by adjusting the Knee control of the Vintage Opto Mode.

Output Section and More

This section of the Compressor is what I think makes this tool really something special. 

Featuring a Threshold Limiter, three Distortion modes, an ever useful Mix knob, and a Sidechain Control section, this compressor is able to perform in ways that the original units or other third-party plugins just cannot. 

Want a more aggressive sound on your snare drum? Play with the Distortion settings between Soft, Hard, and Clip to bring out a more pronounced sound. 

Want the cranked 1176 vocal sound without aggravating the sibilance? Send the signal to a bus, side-chain that bus back to the plugin, and adjust the Filter settings to focus on the “esses”. 

Are you slamming the compressor, loving it, but it’s just a bit much? Dial back the Mix knob to retain some vitality as well as keeping the sound controlled.

Hopefully you can now see the versatility of this absolute unit of a plugin. While using some of the more premium plugins can be very nice and in some cases nothing else will do, learning this tool inside and out will help you to control your mixes in ways you maybe hadn’t considered and that the third party plugins just can’t compete with. 

That stock plugin suddenly doesn’t seem so stock and boring now, does it?