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Compressors & Limiters

Hardware compressors and limiters for studio dynamics control. Compare threshold, ratio, attack, release, knee, sidechain, stereo link and headroom.

Compression is a time-and-level process

A compressor reduces dynamic range when the signal crosses the behaviour defined by its detector. Threshold, ratio, attack and release are the core controls; knee, make-up gain, sidechain filtering and detector modes change how that reduction is applied. A limiter uses very high ratios or a dedicated limiting topology to keep peaks within a target ceiling.

Attack and release are not cosmetic controls. A fast attack can restrain a transient but may also change its impact. A slower attack can let the initial edge through. Release that is too short may create audible gain modulation; release that is too long can keep the circuit working after the event has passed.

Stereo linking and sidechain facilities matter

For stereo buses, check how the channels are linked rather than assuming a two-channel chassis behaves as one stereo processor. Sidechain access lets the detector follow a separate or filtered signal, opening up ducking and frequency-conscious control.

Compression is often paired with equalizers; changing the order changes the result. If the hardware is inserted around a mixer, know where the insert sits in the channel path.

Testing a used compressor

Exercise meters, bypass, pots, switches and both channels at comparable levels. On valve or older hardware, service history is more informative than age alone. Digital processors add display, preset memory and firmware to the inspection list.

A compressor is not a substitute for input gain. Microphone level is established by a microphone preamp or the interface preamp before dynamics processing becomes relevant.

FAQ

Both control dynamics, but a limiter is designed to restrain peaks above a threshold with very high ratios or dedicated limiting behaviour. A compressor normally allows more gradual gain reduction.
It catches transients earlier, but it can also reshape their impact. The useful setting depends on whether you are controlling peaks, sustain, density or bus movement.
You need coherent stereo behaviour. A dual-channel unit with a proper stereo link is usually easier; separate units require controls and detectors that can be matched appropriately.