When I agreed to write this article, which is in response to the article My Top Plugins For Audio Post Production - Paul Maunder, Julian jokingly said “will it be all compressors?” I laughed and then as I compiled my list I thought to myself, “yeah, it leans a little compressor heavy, doesn’t it”.  What can I say? I like compression. So here’s my list:

Solid State Logic SSL 4K E

In a recent article I mentioned that I had an epiphany while mixing an EP on an SSL SL4000E, and that, as a result of that project, I stripped my template down to a basically the digital equivalent of that console. I started learning on an SSL in the late ‘80s, while at Berklee and through the years had distanced myself from the SSL sound. This version of the SSL SL4000E was the first time a plugin made me feel like I was sitting in front of a real SSL. It felt so “real”, so “right”. Now, I put one of these on every channel, creating a virtual SSL in Pro Tools. Leaning mostly on the channel EQ & dynamics in the plugin.

Universal Audio UAD Pultec EQP1-A

For me a Pultec is a like a spice. You use a little bit of it for best effect. In fact, even set completely flat, this plugin seems to add some girth to a sound (just like the real ones did). I use the Pultec on my submixes (drums and bass, instruments, vocals, fx returns) to help give them a little shaping and colour. For instance, I like the way I can use the Pultec on a drum bus to move the cymbals forwards or backwards to better fit them in the mix, while the top end boost is simply gorgeous on a vocal bus.

Solid State Logic SSL Native Bus Compressor 2

Continuing with the theme of recreating an SSL in my DAW, I use the SSL Native Bus Compressor 2 on my 2-bus out for that glue, punch, and intensity it brings to the mix. There are very few occasions where I find the need for a different final compressor.

AMEK EQ200

I don’t know what it is about this EQ that is just so incredibly pleasing to my ears. I put this on my 2-bus, right after the bus compressor, and add just a little top and bottom in M/S mode. I also really like what the “Mono Maker” does to focus the stereo image.

Kiive Complexx

This goes on my drum bus to help add some punch to the drums before they hit the final 2-bus compressor. I don't usually compress my drum mics individually, so this adds some cohesion before they hit my glue compressor. 

SPL Iron

This is a great compressor for when you need smooth, nearly invisible, compression. It’s not aggressive and not overly coloured. What it does do is cozy sounds up to each other and makes things feel smooth. I’ll sometimes use this on a vocal that needs a gentler touch or, more often, on a submix of background vocals that need to breathe together a little more. Because you can choose between 6 different rectifier options, you can usually find something that adds just a touch of EQ/shaping in a really pleasing way from one of the options. Another great place for this one is on a percussion bus. With the right setting it accentuates the groove of the percussion section.

Pulsar 1178

This is a powerhouse of a compressor when you need something a little more aggressive, but maybe not quite as edgy as an 1176. To my ears an 1178 is a little smoother/cleaner than it’s 1176 cousin. This plugin also has an incredibly flexible EQ side chain section, allowing you to tailor the compressor’s response with surgical accuracy. I use this when I need more aggression than the SSL dynamics provide. It’s great on bass, acoustic guitars & vocals. 

LiquidSonics Seventh Heaven Pro

It would be fair (and true) to say the LiquidSonics has ruined me for all other reverbs. I use multiple instances of Seventh Heaven Pro to get the reverbs I need for a mix. Anytime I audition something else I find myself rushing back to this. In the interest of full disclosure, I sometimes use LiquidSonics Cinematic Rooms Pro for a reverb or two in a mix, but only when I need something specific to what it provides.

McDSP EC300

I typically have two instances of this on every mix. Because I can choose from tape, analogue or digital delay styles I know I can find what I need. I can adjust offsets, saturation, wow & flutter (in the tape mode) to get just about any delay sound I could need. Plus, the internal dynamics section allows for seamless ducking. 

Avid Pro Limiter

The final plugin on my 2-bus out is the Avid Pro Limiter. I could say that I use it to catch any overs, but it’s really there to give me a quick gut check on overall mix level. This is especially useful when I move from one studio to another and am not sure how well calibrated any particular playback system might be.

Do you share any of Steve’s choices? If not what do you favour instead? Share your thoughts in the comments.