The GUI even looks like a vintage piece of audio equipment from World War II. It can be used as a limiter, and it offers a variety of modes including mono, dual mono, stereo, and mid-side. Subtle they are not! The Molot offers a host of controls over virtually every parameter of the compression including: Threshold, Attack, Release, Ratio, Knee, High-pass Filter, and mid cut. The Fairchild might be the most misunderstood compressor ever created. The lack of a release control limits its usefulness on the stereo buss, but this is far from a deal breaker. It also has a MIDI learn option for writing automation with a hardware controller.
The GUI resembles the SSL pretty closely, as it features that familiar, fairly straightforward control scheme.Ĭontrols over Ratio, Attack, Threshold, and Makeup Gain dial in your sound, and the In/Out Gain controls adjust the level of the input and output respectively. This thing was built to live on a buss.īased on a “classic buss compressor design” (not very descriptive), one would guess the DCAM is yet another freeware take on the SSL but this isn’t entirely accurate. It also has a useful setting for compressing either the RMS (average) or peak of the signal. You can also use it in dual mono mode and compress only one side of the stereo field – very useful for mastering applications. It’s far from a one trick pony though, as it’s capable of parallel and negative compression. The Deep control is a high pass filter that leaves the low end unaffected. It can go from smooth and transparent to straight up crunch. Controls are stupidly simple, with two knobs over the Input and Output gain. There are some controls under the hood as well for fine-tuning parameters like frequency of the low cut and air controls, saturation, and response of the opto setting.Īt first glance the DC1-A might look like a take on the classic LA-2A optical compressor, but there’s a little more going on here. It’s got a very useful Saturation control for adding some analog drive to the sound, and buttons for cutting lows and adding air. It can be used in place of a FET-style compressor like an 1176, or an opto-style like an LA-2A (but with a little more control over the attack/release!).Ī single knob controls Response, a combination of attack and release.
It also has sidechain controls, with switches for a filter and to set it to an internal or external sidechain.īeing stereo only somewhat limits its application, but it’s a transparent compressor that is just at home on a master buss as it is on a track group.īlockfish is a versatile compressor with a ton of features that has attained a somewhat revered status in the recording community, as freeware compressors go. There are controls over the Range and Drive of the compressor, with a singular Timing knob controlling the attack and release curves. It’s a stereo only plug-in, but can be used in left-right, or mid-side modes as well. Variety of Sound Densityĭensity might be the closest you can get to an SSL Bus Compressor in a freeware format. While even stock compressors that come packaged with your DAW are clean and versatile, here are five freeware compressor plug-ins that sound as good as hardware.
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