Reviews » Gear/Software » FabFilter Pro-C 3: The Most Fun You Can Have With A Compressor

FabFilter Pro-C 3: The Most Fun You Can Have With A Compressor

The latest version of FabFilter’s long-reigning compressor, Pro-C 3, adds new types and character saturation, and overhauls its side chain section, resulting in an incredibly vital and extremely fun dynamics processor.

Way back in 2015, we declared the original Pro-C from FabFilter one of the 10 best compressor plugins, saying, “If you were forced to pick just one compressor to do everything, Pro-C would be a solid choice.” Eleven years on from that declaration (and 10 from the release of the sequel, Pro-C 2), FabFilter has finally graced us with a new version, and it’s just as vital as ever. Even more so, actually, given all of the new features the Dutch company has bestowed upon it. From new compressor types to saturation, and a seriously incredible side chain section, Pro-C 3 is everything you might need in a modern compressor – plus some things you may not have even considered before.

Type Cast

Let’s start with those new compressor types, as the list of included circuits has really grown since the original three, Clean, Classic and Opto. Making their debut in Pro-C 3 are Versatile, Smooth, Vari-Mu, Op-El, Upward and TTM, the latter being FabFilter’s take on the legendary OTT.

Including an OTT emulation, which combines both downward and upward compression into a single algorithm, shows how the company’s thinking about its workhorse compressor has changed. The way many producers use software compressors has evolved over the last decade, with many employing them more like effects than just to smooth out wayward transients. Pro-C was tops if you needed a transparent and – dare we say it – sober compressor. With the TTM mode plus upward compression joining the other types (bringing the total to 14), you can now do pretty much any kind of compression all in one place.

So Much Character

Even more surprising than the new compressor types is the inclusion of saturation circuits in Pro-C 3, or what FabFilter is calling character, which sets the type and amount of analog-style saturation, color and drift.

In terms of type, you get three modes: Tube, Diode, and Bright, with a Drive slider for controlling amount, plus a routing switch to choose between Pre and Post compression circuit saturation.

Of course, FabFilter knows a thing or two about saturation. Its Saturn 2 is one of the best multiband saturators on the market, so it’s great to see this making its way into Pro-C 3, especially considering how popular distortion is in music right now. It all sounds wonderful, with the harmonic boosting interacting with the compression in beautiful and musical ways.

Between this and all of the compressor types now available, there’s really nothing you can’t do with Pro-C 3, from vintage-style opto and tube compression to transparent mastering.

Your Duckings In A Row

Pro-C 2 saw FabFilter introduce a Pumping compressor for ducking effects, but as usage of this type of compression has evolved, so too has the need for something a little more involved than just barebones sucking. Thankfully, Pro-C 3’s Side Chain section has gotten a real overhaul, with both internal and tempo sync styles advancing considerably.

Let’s look at the latter first. While you can still side chain Pro-C 3 to an external signal, the new Host Sync option lets you tie the pumping effect to your DAW’s tempo, with a beat division dropdown menu and Offset slider for pushing off the beat also available. You can even have it triggered by incoming MIDI notes for more complex rhythmic sequences. Use this in conjunction with the Attack and Release knobs plus the Hold function to dial in the modulation. Of course, the GUI also lets you see exactly what’s happening, which will look instantly familiar to anyone who’s used soft synths like Massive or Pigments.

Any good compressor will have an internal side chain circuit, where you can use a basic EQ to remove frequencies from incoming audio. Say you’re processing the drum bus and want to squash just the tops but the kick keeps triggering the compressor; by using the internal side chain, you can remove low fequencies from the compressed signal. Useful but not very exciting – until now. By putting a mini Pro-Q inside the side chain and letting you work with up to six bands, plus everything else you might expect from an EQ plugin, like mid/side processing and a side chain EQ amount slider, it suddenly opens up all sorts of dynamics processing options.

Sound Design

Let’s hear how Pro-C 3 sounds in action. We’re using it on some different elements in an acid-flavored track.

Here it is processing the 303 line through the new TTM circuit with character saturation in the signal.

First in bypass:

And then engaged:

Next, we’re running a drone through Pro-C 3 with the Host Sync side chain function enabled for a tremolo effect.

First in bypass:

And then engaged:

To hear the internal side chain working, here’s Pro-C 3 on the drum bus processing two loops and a 909 kick.

First in bypass:

With no side chain:

Lastly with side chain:

Compress To Impress

This is really just scratching the surface of what Pro-C 3 can do. It’s also got a clever Auto Threshold function that acts like a volume rider, great for keeping vocals or other live performances in check. It supports up to 9.1.6 immersive/surround if that’s your bag, and it features an excellent selection of presets to get you started. It also now works in Pro-Q 4’s instance list, meaning that if you’re using Pro-Q 4 as your master EQ, you can control the Pro-C 3 on each channel from that single plugin. Pretty slick.

Ultimately, though, Pro-C 3 is just fun to use. How often have you said that about a compressor? The new types and character encourage experimentation – you can spend hours trying the different compression algorithms with varying degrees of saturation – and the expanded side chain section is like a revelation. There’s so much sound shaping to do here beyond just boosting presence and punch. And the familiar and intuitive graphical user interface is helpful as always, providing visual reinforcement for what you’re hearing.

There’s no AI, of course. Someday, we may see an AI-assist feature in a FabFilter product, much like SSL did recently with its autoSeries collaboration with Sonible, but honestly, that would be a shame. There’s so much fun to be had here; letting AI handle the settings would be like paying a robot to ride a roller coaster for you. In 2015, we said, “Pro-C has one of the most intuitive user interfaces you’ll come across, with scrolling real-time waveform displays of the level of gain reduction and the impact of the compression on the signal. As such, it’s a great way to learn about the effect compression has on sounds, visualising the impact as you adjust parameters.” That hasn’t changed. It’s still just as informative. Now it’s fun too.