Arturia 3 Compressors

The sound of big studio hardware  reborn as software effects
Let’s face it, there are hundreds of software effects out there. You don’t have the time or the budget to try them all out and find the ones you like.

The team at Arturia felt the same way. We wanted to make things simpler, so we could spend more time making music, and less time auditioning dozens of effects. 3 Compressors You’ll Actually Use features – you’ve guessed it – a trio of legendary compressors recreated as software through physical modelling. In the same way the biggest studios and record artists relied on these compressors to achieve their signature sounds, they will become your go-to choice for shaping the dynamics and adding character to your music.
Iconic tone, unique abilities, and 21st century features you’ll come back to time and time again

Compressors that stood the test of time

Fet-76
The phrase “industry standard” gets used a lot in music production circles, but few products actually live up the hype.

The original 1176 compressor designed by Bill Putnam Sr. truly lives up to the name. Now – thanks to Arturia’s TAE® technology – you can enjoy its legendary tone-shaping from the convenience of a software plugin.

Produced from the late 60s, the original hardware compressor was a staple of all major studios. Every mix engineer demanded at least one in a session, and they were used to shape the sound of countless hit records from Michael Jackson to The Killers, Guns n Roses to Joe Cocker, Bruce Springsteen to Chaka Khan. You won’t have to settle for just one, though; with Comp FET-76, you can load up one of these classic compressors on as many channels as you want.

People often say the 1176 “just makes things sound better”, but how does it do it? Our engineers carefully analyzed and modelled every component, electronics nuance, and quirk in the data of an original D/E model to find out, and recreate it as software. The combination of the Field Effect Transistor, the “Class A” amplifier, and its unique design imparts a subtle, but very desirable tonal change even at very low compression levels. Crank the input, patch in higher ratio, or even go “all in”, and that FET magic really comes alive. We didn’t simply create a software clone, we created a truly modern compressor with updated features, but featuring the same legendary sound.

A legend reborn for the 21st century
While there’s no doubt the original hardware FET compressor is practically faultless, we couldn’t help but imagine what modern production tricks we could conjure from it.

One of the benefits of recreating a classic is that we have been able to add some subtle but powerful new features that truly make this a compressor fit for the modern studio, without altering its legendary tone.

The top panel of the interface gives you access to all of the original controls. You can click to expand the plugin to and access its advanced, new features.

Input-output Link
Rather than the now standard “threshold” parameter, the original hardware compressor made you crank the input to engage the effect. This will obviously give you volume boosts and alter levels in your mix, but you can simply hit the “link” button to keep volume levelled as you boost the input, so you get compressed sound with steady volume.

Advanced Sidechain Control
Ever wondered what sidechaining a legendary FET compressor would sound like? Spoilers: it sounds awesome. The advanced panel gives you access to contemporary sidechain controls with SSL-style EQ, as well as mid-side processing so you can carve exactly the sound you want to control the compressor.

Let’s do the Time Warp
Because we’re working in the digital domain, it’s easy to introduce a couple of milliseconds of pre-delay without you even noticing. The “Time Warp” function lets you take advantage of this, so you can get creative with your placement of the compression envelope as it engages and releases. This is a dream come true for experimental producers and sound designers!

VCA-65
When it was released, the original DBX 165A® was a compressor unlike any other.

Rather than the more traditional vacuum tube, it used a solid-state VCA to create its compression effect, and cutting-edge RMS dynamics detection. It also sounded great, which is the important thing!

These days, it’s getting harder and harder to find working originals, but their legendary sound-shaping power is still highly sought-after. Now, thanks to Arturia’s advanced TAE® modelling, you can enjoy using this fabled compressor in your DAW, on as many channels as you want, and with advanced features only possible through software.

Unlike the more common DBX 160, the 165A® sported several unique features that made it a “must have” for studios looking for tight, punchy percussive sounds. Known as the “Over Easy” compressor, its auto attack-decay detection made great compression simple, its harsh peakstop limiter added a touch of vintage filth when things really hit hard, and its unique compression sound gives even extreme settings a natural feel.

If you’re looking for an easy-to-use compressor with character, you’ll love Comp VCA-65.

Every nuance, and quirk that made the original DBX compressor so sought-after has been perfectly recreated in software.

Through careful analysis and painstaking research everything from the biting “crunch” of the peakstop to the fluid “over easy” knee is here. It’s just like having the original compressor in your DAW, but revamped with some powerful new abilities.

Vintage tone, modern features
As incredible as the original compressor was, music production has moved on since the 70s.

Just because the technology has changed, it doesn’t mean we have to leave these classics behind. When recreated this compressor, we included several contemporary features with modern producers in mind.

The top panel of the interface gives you access to all of the original controls. You can click to expand the plugin to and access its advanced, new features.

Push the button
Last, but certainly not least, Comp VCA-65 includes a “manual” mode for the sidechain. When this mode is engaged, you can trigger the side chain with the virtual button to see how it reacts, and automate it in your DAW so you can get total control without even needing an input audio source.

Let’s do the Time Warp
Because we’re working in the digital domain, it’s easy to introduce a couple of milliseconds of pre-delay without you even noticing. The “Time Warp” function lets you take advantage of this, so you can get creative with your placement of the compression envelope as it engages and releases. This is a dream come true for experimental producers and sound designers!

The “S” Word
The sidechain includes an integrated SSL®-style EQ, letting you hone in on particular frequencies of the sidechain signal that activates the compressor. One easy, effective use for this is to use the EQ to boost the sibilance of a vocal, and let the sidechain act as a highly customizable de-esser.

Tube-STA
The Arturia TUBE-STA gives you a stunning recreation of the stalwart, valve-driven compressor that was the all-American workhorse of early broadcast and recording studios. With simple controls, dynamic performance, and gorgeous vintage tone, you can now own a piece of history as a software effect in your DAW.

Entering production in the ‘50s, the original Gates® compressor featured quirky non-linear attack and release that were very forgiving with almost any input. Its simple controls and fantastic, harmonically rich sound made it a favorite with radio and studio engineers, and now thanks to the power of Arturia’s exclusive TAE® modelling technology, it’s destined to become a favorite of yours, too. Analyzed, mapped out, and reborn as a software plugin, and powered up with new features that make this golden-age compressor a must-have for the modern producer.

A boutique signal processor with a golden touch, the original STA-Level was well known for the intimacy, air, and subtle saturation it gave to any audio it treated. As it moved from TV and radio studios to more music-focused studios in the 60s and 70s, word got around that it had a killer sound on bass and vocals; having this awesome ability to transform weak bottom-end into fat, harmonically rich bass, and bringing voices to life. All this at the turn of one knob. Its simplicity was certainly part of its appeal, and while Comp TUBE-STA has been given a few modern touches, Arturia’s engineers have been faithful to the original, powerfully simple design.

Through painstaking analysis of a 1950s original, Arturia’s audio engineers and developers were able to “measure the magic” on a component level.

Using the same modelling technology behind the award-winning, celebrated V Collection synth compendium, the compressor was reborn as a software plugin, ready to treat your audio with that authentic vintage touch.

Input-output Link
Rather than the now standard “threshold” parameter, the original hardware compressor made you crank the input to engage the effect. This will obviously give you volume boosts and alter levels in your mix, but you can simply hit the “link” button to keep volume levelled as you boost the input, so you get compressed sound with steady volume.

New York, New York
One of the oldest recording studio tricks was to split a signal’s path in two, leave one dry, heavily compress the other, and then mix the two signals back together. It became known as “New York” compression, or parallel compression. We simplified the process, and have included a “Mix” knob so you easily get the same effect.

Advanced Sidechain Control
“Shame compressors from the ‘50s weren’t set up for side-chaining” you cry, but don’t worry, we’ve got you covered. The advanced panel gives you access to contemporary sidechain controls with SSL-style EQ, as well as mid-side processing so you can carve exactly the sound you want to control the compressor.