Watch a snake oil guy video

 

You are talking about multiband-compression, which Pro-C is not. They obviously have a separate plugin for that, called Pro-MB.

 

For everyone reading my comment thinking "BrUh TheRe's a SideChain Eq" yes i know, that is affecting HOW the internal (or external) sidechain is RECEIVING the audio. It's being routed in with a low pass on it. Yes, if you add a LPF it will effectively remove the high end compression. But it's the way it does it that I have a problem with. It is akin to the "Free" detection mode in Pro-MB: It's not changing the compression itself (the HOW), only the detection OF the compression (the WHAT), if that makes any sense. So yes, it's still affecting the compression in the way that pre/post-emphasis EQ might. But NOT in the way that Pro-MB does it, which is how I would recommend to do it for anyone mixing kick & bass in a DAW where you can't sidechain with soothe2 due to PDC issues *cough cough Logic Pro

 

Last edited: Jan 15, 2026 at 11:18 AM

Should not most compression not be multiband in some way shape or form? Even if it is just a simple HPF to remove some rumble. Often times i find myself compressing wideband usually AFTER i've done tonal and multiband stuff. Because think about it from a Frequency x Time domain point of view. If there's still gunk that hasn't been cleared out, or lots of sibilance or rumble, compressing that will often just make it sound worse in the long run. Pro-Q 4 is perfect for this. It helps you make tonal shaping and dynamics processing a hand-in-hand experience, where i sometimes will just make bands dynamic without even thinking about it, because it's such a well-designed and seamless plugin. If their flagship EQ offers multiband compression (and expansion), why should not their 3rd revision of their flagship COMPRESSOR plugin? I'm not saying it should be a gate or anything but come on. That "Expert" section in Pro-C 3 is LACKING, and it wouldn't even be that hard to fix imho.

This is just my opinion. To be fair, anyone on sister site can't complain about sh*t HAHA

 

Last edited: Jan 15, 2026 at 11:21 AM

Pro-MB is antiquated atp and we all know it

I will still continue to use it until MB2 eventually comes out. But only when I need it. Between Pro-Q 4 and now Pro-C 2 I won't need to worry about FabFilter compression unless it's kick and bass action.

 

I use Logic Pro X and often when I'm looking for "vintage wideband compression" or something like that, i'll opt for Nebula/Acustica. Or maybe UAD. But Logic 10 has a PDC issue so if you try doing external sidechain compression with anything that has lots of latency, it basically screws you over by not reporting the delay correctly and you can end up with timing/phase issues. So Zero Latency is the only solution. Pro-C 2/3 and Pro-MB both offer this. But if you're doing something precise like sidechain compression, i want to have complete control over every little detail (especially that attack time) and that includes being able to make tonal changes while compressing imo. Pro-Q 4 will continue to get massive use out of me, while Pro-C 2/3 will continue to be used primarily for EDM sidechaining, where you actually WANT to hear the pumping. But in my trap sh*t im gonna stick with MB until the 2nd one comes out.

 

Here we go.
https://www.fabfilter.com/products/pro-c-3-compressor-plug-in

 

will be up in 3 hours on Sister

 

so, any major features apart from saturation drive and more sidechain settings ?

 

How about the fact you can now control Pro G, C, Q, DS on every track all from one open instance of Pro Q4? Pretty damn amazing if you ask me. They didn't need to fix what wasn't broken, and they didn't go AI. Bravo to FF for keeping it real and yet still innovating in 2026 without AI.

 

The interface looks slick, unlike my crotch.

 

I find the Automatic threshold setting interesting and here's why: why the signal goes above the threshold and start compressing, you end up with compressed sound that has a ton of character (that will eventually depend on the compression style, attack, release and other factors) but still has a distinct sound to it, however when the signal is below the threshold you end up with uncompressed or at the very best some compression if the knee is set to soft, but still not at the same level with a heavily compressed sound, result : inconsistent compression and different energy in the same let's say vocal take that has different levels, this is why we tend to "prepare" the vocal takes with vocal riders or manual gain matching prior to compression in order to get consistent compression, this option of auto threshold could be a game changer if done right (i need to test it first and judge) because it could give you consistent compression even in the worst scenarios where the vocal takes, bass or whatever are very dynamic and saves you hours of manual tweaking and automations.

 

i think i used their plugins like in 2013 like that.. used to use the pro q 2 on the master channel for mastering it gave good results.. but anyway i dont use their plugins anymore i just find them a bit.. boring lol.. sometimes i use the timeless delay that i like., only

 

Not even Dan Worrall could sell me on this compressor. It's really meant for the people still using C-2, because it's not doing anything you haven't seen before. It's not even doing it better. People will often glaze the UI, and while it looks good as expected, I find it so hard to believe (experienced) people have trouble with compressors (unless it's one of the clusterfucks from Pulsar Modular, then I agree).

 

So, they basically ripped off Powair ?

Here's Dan Worall explaining Powair's adaptive compression :

 

The recently released Woodstock Audio Open Compressor also have this feature

 

It looks really great i'm looking forward to try it.

 

To paraphrase Bjarne Stroustrup: "There are only two kinds of compressors: the ones people complain about and the ones nobody uses."