When it comes to audio recording, you have to do it right; otherwise, it won’t come out well. With the recent spike in the quality of streaming music services, sound engineers are in search of new ways of creating impeccable sounds. This is where compressors come in. Audio compressors basically take an audio signal and reduce its dynamic range. In other words, they amplify soft parts of audio that may have been lost in a track and also prevent clipping when the overall volume is raised. This is done so that you don’t have to manually adjust the volume regularly or worry about turning it up too loud. There are tons of these gadgets out there, so to save you the time and hassle of searching for the ideal model, this buying guide will introduce you to some of the best compressors in 2021.

If you’re looking to pick up an ultra-fast compressor with custom Midas transformers and the original 1176’s compression ratios without breaking the bank, the Klark Teknik 1178-KT Classic FET-style Compressor is your best bet. This FET class-A compressor sports an elite output amplifier and industry-standard Neutrik connectors that combine to create top-notch sounds. It also features vintage-style metering, a switchable pad to reduce sensitivity, and a universal switch-mode power supply.

With the quality of sound and ease of use of this compressor, it’s no surprise that it is a staple in most professional studios.

Whether you’re mixing, mastering, and tracking in the studio, or having a live performance, the Art Pro-VLA II 2-channel Opto Tube Leveling Amplifier is the limiter you want to have in your arsenal. This audio compressor features an optoelectronic design which is clearly an upgrade to the VCA-supported level detection circuit. In addition, it allows extra compression on audio signals for quality enhancement and to make them sound more natural and neat.

Other impressive features of this amplifier include tube compression circuitry, optical vactrol electronics, enhanced link mode for high-end mastering, and LED metering for monitoring mean level and peak hold. It is an all-round studio equipment, and there’s no way you’ll regret getting one.

The result of connecting a dbx 266XS Dual Compressor/Gate to your live sound rig is always mind-blowing – it’s like adding seasoning to steak! This compressor synchronizes perfectly with sounds from drums, guitars, saxophones, and even vocals to create pitch-perfect sounds. In addition to an iconic dbx auto mode for flawlessly leveling and normalizing audio, this versatile studio equipment features stereo and dual-mono modes and LEDs for monitoring gate threshold, gain reduction, and compression!

The Warm Audio WA76 Discrete FET Compressor is a makeover of the iconic ‘76 Revision D, also known as the mother of all limiters. And although it modifies some of the OG version’s features, it still features the same arrangements of control buttons and custom signal path that delivers top-notch sound quality. In addition, this excellent compressor is versatile; it mixes perfectly with vocals, drums, guitars, and other sound sources.

Other features like the Class A line-level output amplifier, elite input impedance, and low total harmonic distortion make this limiter a dream come true for every sound engineer.

Optical compressors are known to deliver the best sound quality, and this one doesn’t fall short. The Warm Audio WA-2A Tube Optical Compressor, a modification of the classic LA-2A leveling amplifier, is retrofitted with optical photocell and tube components that enhance the device’s ability to refine audio signals and keep it natural.

This compressor is super versatile; it harmonizes perfectly with guitars, vocals, and varieties of drum types. With these connected to your sound rig, the sound mixing and mastering possibilities are infinite!

A compressor is a device that controls sound dynamics. It operates by lowering the volume of loud sounds and increasing the volume of soft sounds so they both have equal intensity. 

Now, there are a lot of different audio compressors on the market. Some are expensive and hard to get; others are pretty cheap but also have some limitations. Basically, it can be difficult to find the best audio compressor for your needs, but we are here to help you with that!

Audio compression is essential in mastering and mixing, and a compressor best executes it. However, there are many different compressors out there, but which one is the best one for you? To help you out, we have compiled some of the essential elements that determine the quality and use-cases of a compressor. Dig in!

Obviously, you wouldn't want any noise interference in your recordings. So it’s best to go for a compressor that generates little or no noise and actively suppresses external noise. For this, you'll need to consider the signal-to-noise ratio (SNR) and equivalent input noise (EIN) typically measured in dB (decibel) and dBm (decibel milliwatts), respectively. Naturally, a higher value is better in both cases since it usually translates to more useful audio signals than noise. 

A good signal-to-noise ratio to consider is 74bB at +25dBm, while for equivalent input noise, a value of -104.1dBm is excellent. However, if you can't find these exact values, anything close to them should suffice. 

Attack, typically controlled by a knob on a compressor, determines how long it takes to complete one full compression cycle. The best compressors usually feature less than 1 second attack times, so that should be your gauge. In fact, your choice of compressor should be at least 800 milliseconds fast. 

Think of release time as the opposite of attack time, since it is a function that determines how long it takes one complete cycle of compression to stop. Like attack time, the best compressors feature release times that are less than a second. To be specific, your choice should have a release time of 700 milliseconds at most. 

The ratio of a compressor determines how much compression is applied to audio signals. Different compressors come with varying ratios, and for best results, it's advisable to go for models with a high number of ratios. That way, you can select the best ratio that suits the occasion. 

Optical and tube compressors are the most common types out there. They both offer impeccable and smooth compression, however, optical compressors are widely considered to be the best. 

If you're caught between choosing either, you can simply go for hybrid models that combine both tube and optical sound technology.

Note: If you'll be working with many drums and cymbals, you might want to lean towards tube compressors.

A: Yes. They do this by synchronizing every sound in an audio signal so that one isn't louder than the other.

A: Compressors do not sound the same. While there are many reasons for this, the primary cause is that they come with varying frequency and level-dependent saturation that affect sound differently.

A: Every sound engineer needs a top-notch compressor to compete in the music industry these days; plus, they are products of advanced technology, so it's no surprise that they can be pretty expensive. Low-end models may cost as low as $100, while the professional-grade types may cost up to $500 or more. If you don't afford a compressor, you can also opt for plugins/VSTs to make the job simpler - almost all DAWs these days come with a built-in compressor.