If you’re involved in music production, you may be interested in investing in the best 500 series compressor to improve the quality of your audio recordings. However, with the wide variety of types and
Single Channel Compressors | Single Channel Compressors Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 93 | 10+ | |||
 | 93 | 10+ |
Budget Option Under $500 | Budget Option Under $500 Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 94 | 90+ |
Stereo Bus Compressor | Stereo Bus Compressor Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 95 | 15+ |
*Gearank = Rating score out of 100.
**Sources = Number of gear owner and user opinions analyzed for these product Gearank Ratings.
Research Process: How Gearank Works
To simplify the process, we’ve conducted research and compiled a list of the best 500 series compressors for 2025. Our selections are based on user ratings and reviews, and we’ve categorized the compressors for single-channel recording, mixing, live performances, and different budget ranges.
We’ve also included information about the various types of compressors, their applications, and important factors to consider before making a purchase. Whether you’re a novice or a seasoned producer with a large mixing board, we’re confident that you’ll find a suitable compressor in this guide. Keep reading to find out more!
Single Channel Compressors
WesAudio MIMAS NG500
The MIMAS blends modern flexibility with classic analog warmth, making it a great hybrid tool.
Pros:
- Feed-forward and feed-back modes
- Versatile compression settings with precision controls
- Seamless integration with digital recall and automation
- Transparent and musical compression options
- Meters could be more readable
We’re reader-supported. When you click product links on our site, we may earn an affiliate commission at no extra cost to you.
The WesAudio MIMAS NG500 Analog Compressor brings together analog warmth with modern flexibility. It’s designed for the 500 series, but its hybrid nature—analog hardware with digital control—makes it stand out. MIMAS offers feed-forward and feed-back compression modes, expanding its versatility. Feed-forward mode excels at transparent compression, while the feed-back option can deliver that more “glued-together” analog vibe, making it great for both subtle processing and aggressive control.
What sets the MIMAS apart is the NG500 technology, allowing full integration with your DAW via a plugin interface. This means you get the tactile feel and sonic character of analog gear while enjoying the convenience of digital recall and automation—a rare feature in the 500-series realm. The unit also provides precise attack and release controls, giving you complete mastery over the compressor’s behavior.
The built-in meters offer useful feedback, though their small size makes them a bit harder to read at a glance, especially in dim environments. That said, this compact unit is loaded with features like variable ratio, threshold, and makeup gain settings, giving you full flexibility whether you’re working with vocals, drums, or bus compression.
If you’re after a modern, hybrid compressor that retains the character of analog while taking advantage of digital workflows, the WesAudio MIMAS is a powerful addition to any studio setup.
- Controls: Threshold, Ratio, Attack, Release, Makeup Gain
- Feed-Forward/Feed-Back Modes: Yes
- Maximum Input/Output Level: +24 dBu
- Attack Range: 0.1ms to 120ms
- Release Range: 50ms to 1.2s
- Ratio: 1.5:1 to 10:1
- Threshold Range: -24 dBu to +24 dBu
- Interface: DAW integration via USB or Ethernet with plugin control
Crane Song Falcon Tube Compressor
The Falcon delivers smooth, colorful compression perfect for vocals and mid-range instruments.
Pros:
- Larger than life vintage sound
- Makes vocals sound modern
- Gets the LA-2A vibe and more
- Wet/Dry mix for parallel compression
- Might not be ideal for drum tracks
We’re reader-supported. When you click product links on our site, we may earn an affiliate commission at no extra cost to you.
The Crane Song Falcon is a versatile 500-series tube compressor that offers a blend of vintage warmth and modern flexibility. It features two flavors of tube compression, allowing users to toggle between negative feedback for a highly colored vintage sound and cleaner, modern compression. Each mode sounds great in nearly any program material. This flexibility enables tailored compression for different sources, making it adaptable to specific needs.
The Falcon simplifies parallel compression with its dual signal paths and wet/dry mix knob, making it easy to blend heavily compressed and dry signals for controlled dynamics without sacrificing natural feel. Additionally, its onboard link function allows for a stereo compressor setup or full 5.1 surround sound mixes, with the ability to link up to six Falcon compressors together.
While the Falcon excels on vocals, bass guitar, and piano due to its sweet and gentle character, it may not be ideal for drum tracks because of its specific tonal qualities.
Despite being priced towards the top end of the 500-series compressor market, its build quality, durability, and performance justify the investment. With its classic tube sound, flexible controls, and easy parallel compression capabilities, the Crane Song Falcon is a high-quality compressor worth considering for studio applications. It’s a no-brainer for those chasing the LA-2a vibe without the price.
- Controls: Attack, Release, Meter, Limit/Compress, Color, Mix, Threshold, Gain
- Attack: For a 12 db change, 100uS; 7mS; 20mS
- Release: For a 12 db change, 75mS to 200mS; 300mS to 1S; 1.4S to 3.5S; the release time changes depending on the signal
- Ratio: not specified
- Threshold: not specified
Budget Option Under $500
dbx 560A Compressor/Limiter
Reliable and transparent, the 560A is a solid choice for producers on a budget.
Pros:
- Hard knee and soft knee modes
- Program-dependent attack and release settings
- Easy to get good settings
- Versatile features and parameters
- Lacks character (sound coloration)
We’re reader-supported. When you click product links on our site, we may earn an affiliate commission at no extra cost to you.
The 560A is a dual mode dynamic compressor, with traditional hard knee mode, and dbx’s soft knee mode called “OverEasy”. These two modes expand the ways that you can use the compressor in ways that are quite intuitive, thanks to dbx’s program-dependent attack and release timings.
It is a dynamic processor that has a smooth and transparent sounding vibe with real RMS level detection. More importantly, you don’t need to spend too much time to dial in great sound. It’s interesting how intuitive it is even with its expanded myriad of settings that include ratio, threshold and output. Being a transparent compressor means that it lacks “character”, so if that is you’re thing, then this may not be for you.
One noteworthy feature is the “Infinity Plus” inverse-compression, which lowers the audio output level when the input crosses the threshold beyond unity gain. This is a handy tool for regulating mix levels of extremely loud inputs in live performances and recordings.
All in all, the dbx 560A is a good versatile compressor to have that’s accessibly priced. Definitely worth checking out.
- Controls: Threshold, Ratio, Output
- Maximum Input Levels/Output Levels: +22dBu
- Attack: 15ms for 10dB, 5ms for 20dB, 3ms for 30dB
- Release: 8ms for 1dB, 80ms for 10dB, 400ms for 50dB; 125dB/Sec Rate
- Ratio: 1:1 to infinity: 1, to -1:1
- Threshold: -40 dBu to +20 dBu
Stereo Bus Compressor
Serpent SB4001 Stereo Buss Compressor
The SB4001 provides a polished, cohesive sound, making it excellent for final mix bus duties.
Pros:
- Great SSL G-Series style bus compressor
- Great for parallel compression
- Can be sidechained
- Takes up a lot of rack space
We’re reader-supported. When you click product links on our site, we may earn an affiliate commission at no extra cost to you.
The Serpent SB4001 is a unique take on the revered SSL G-series bus compressor, offering more than just a simple clone. It builds on the classic SSL concept with additional features and options while providing enhanced control over attack and release settings. This includes 12 attack-time options ranging from 0.1 to 50 milliseconds, five fixed release-time options, and a variable release time for precise matching to your track’s groove and tempo.
The compressor is versatile and excels in various tasks, serving as an excellent bus compressor and accommodating different sources. Its “wet” knob allows for parallel compression, adding to its flexibility. If you have a 500-series rack and are looking for SSL-style bus compression, the Serpent SB4001 is an attractive choice. It’s less expensive than the SSL equivalent and many other clones, making it an appealing option for those seeking smooth compression quality.
However, it’s important to note that the Serpent SB4001 is exclusively designed for the 500-series format, so it won’t fit in other rack formats.
Overall, with its SSL-inspired stereo mix compression, added flexibility, and control, the Serpent SB4001 is a fantastic addition to any 500-series rack.
- Controls: Threshold, Ratio, Attack, Release, Blend, Gain, Filters, Variable Release
- Input/Output Impedance: 22 ohm/<100 ohm
- Maximum Input Levels/Output Levels: +21dbu
- Attack: 0.1mS, 0.3mS, 1mS, 3mS, 5mS, 10mS, 15mS, 20mS, 25mS, 30mS, 40mS, 50mS.
- Release: 0.3Sec, 0.6Sec, 1.2Sec
- Ratio: 1.5:1, 2:1, 4:1, 6:1, 8:1, 10:1
- Threshold: -20dB to +20dB
Things To Consider When Buying A 500 Series Compressor
Types of compressors
VCA Type Compressor
Voltage Controlled Amplifier compressors allow control of faster attack and release parameters. A lot of plug-in compressors are based on the VCA type since it’s the most used type of compressor. The response curve of a VCA Type compressor is mostly linear (hard knee), but some have built-in soft knee to adapt them to mixbus compression purposes. They use IC chip-based transistors that determines input voltage to control gain reduction results, which gives the compressor a clean and controllable characteristic that people look for.
Optical Compressor
Optical or Opto compressors use a light source to determine gain reduction. How bright the built-in light source is determines the intensity of the incoming signal voltage. These compressors use photocells as a detector to determine the amount of compression that is applied. They are less sensitive to transients, peaks and sudden spikes meaning much higher ratios can be used. They tend to have natural smoothness in response time due to the inherent delay of triggering the attack and release of the compressor.
Variable-MU Compressor
Variable-MUs or Vari MU compressors are tube-based compressors known for their tone and warmth. Their design uses input voltage changes to alter the bias of the tubes that control the gain-reduction stage. Vari Mu compressors tend to have a “soft-knee” and “slow-attack” style that produces a more smooth compression. Their ratios are program-dependent and increase with the gain reduction. This means the louder a transient is, the harder the compression. They have a slower and less impulsive response time compared to FET and VCA compressors.
FET Compressor
Field Effect Transistor compressors provide highly colored versions of compression and fundamentally are a subset of VCA compressors. Compared to Variable-MU and optical options, a good FET comp will have more control over grabbing harsh transients. They are often used as a solid-state emulation of tubes and have a much faster response when it comes to compression. Their trademark sound produces a punchy and full of imbued character.
Hard Knee Vs Soft Knee Compression
Hard knee compression is when the compressor immediately reduces the signal once it hits the threshold. This type of compression is commonly used if you want to reduce transients right away and is suitable for use on instruments such as snare drums. On the other hand, soft knee compression occurs when the signal is gradually reduced after the signal exceeds the threshold. This is for a more natural-sounding compression and is recommended for use on sustaining instruments such as strings.
Hard Knee Vs Soft Knee Compression
Hard knee compression is when the compressor immediately reduces the signal once it hits the threshold. This type of compression is commonly used if you want to reduce transients right away and is suitable for use on instruments such as snare drums. On the other hand, soft knee compression occurs when the signal is gradually reduced after the signal exceeds the threshold. This is for a more natural-sounding compression and is recommended for use on sustaining instruments such as strings. And it is ideal for master buss compression.
Different Uses and Sound
There are no strict standards in the music production world, so choosing an audio compressor is based on how to maximize its use and what type of sound you want to achieve. VCA compressors usually control transients and give transparency and aggression in the mix. VCA compression is a useful item for recording percussion to provide a precise and punchy sound. Mixing, mastering, and tracking are factors taken into account when choosing which type of compressor is best suitable for each process.
For example, FET compressors are not recommended to use for mixing and mastering since they produce colorful sound characteristics. Since they are known for aggressive and quick attacks, they are more suitable for tracking and parallel compression. On the other hand, optical compressors like the Chandler Limited TG Opto Compressor are preferably used to compress any sound source naturally, such as vocals, strings, and bass.
Tube-based and stereo compressors are often used for mastering purposes to make the mix sound smoother and homogeneous. Compressors are sometimes paired with preamps, like the BAE 1023L, which makes sense since preamp and compression settings often interact with each other. You can also use the different compressor types for sidechain compression. Finally, you have to consider your other recording gear and power supply.
Best 500 Series Compressor Selection Methodology
The first edition was published in 2017.
For this edition, we looked at every best 500 Series Compressor available from major American online retailers. This resulted in a shortlist of 24 of the most popular outboard gear compressors for detailed analysis. Over 550 relevant ratings and reviews from users and experts were gathered, as well as forum discussions, to get the data we processed with the Gearank Algorithm to produce rating scores out of 100 for each one. Then, we selected the compressors in each category above that were the highest rated to recommend. For more information about our methods, see How Gearank Works.
About the Author and Contributors
Here are the key people and sources involved in this guide’s production – click on linked names for information about their music industry backgrounds.
Lead Author & Researcher
Some of the recording gear I use in my studio include the Focusrite Scarlett 18i20, Focusrite Scarlett Solo, Samson QH4 Headphone Amp, and Cloudlifter CL-1. My mics include Aston Origin, Aston Element, Shure SM57, Rode NT1, Rode PodMic, and MXL V67G.
Contributors
Jerry Borillo: Product Research.
Alexander Briones: Editing.
Jason Horton: Illustrating.
Media / Image Credit
Main/Top Image: Created by Gearank.com using photographs of the Rupert Neve Designs 535, Rupert Neve Designs 543, WesAudio DIONE, Crane Song Falcon, and dbx 560A.
The individual product images were sourced from their respective manufacturers’ websites, promotional materials, or supporting documentation.
More Best 500 Series Compressor picks by our Audio Engineer 2025 Related Posts
Best Budget Mic Preamp Hardware 2025 ($100 to $1000)
The Best Pop Filter to Keep Your Plosives in Control – 2025
Best Portable Audio Recorder for 2025 – Audio Engineer’s Top 4
Guide to the Best MIDI Interface – 2025
Best Audio Interface for iPad and iPhone 2025
The Best DI Box & Reamp Box 2025 (Active and Passive)
Comments:
6 responses
-
Publication of our November 2022 Edition resulted in the following compressors coming off our recommended list:
-
-
Publication of our December 2021 Edition resulted in the following compressors coming off the recommended list above:
-
-
The following compressors have been removed from the recommended list above as a result of our December 2020 update, but you can still see our analysis of them:
More Signal Processing & Recording Equipment
Disclosure
Leave a Reply