Weiss Compressor/Limiter

Like our other Weiss plug-ins, the Compressor/Limiter is based on the gold-standard of mastering dynamics processors, the Weiss DS1-MK3.

Loved and needed in equal measure by top mastering engineers around the globe, the DS1 was first introduced in hardware in the early 1990s, and has continued to command pride of place in the best mastering facilities there are. Due to its enormous desirability the hardware will set you back around $10,000. So to distill its awesome-sounding essence in this suite of plug-ins for a fraction of the cost felt like a very Softube mission indeed.

The mastering stage is the last chance to make or break a track, so getting it right can be the difference between a battle won or lost. That’s why the startling transparency and effectiveness of the Weiss digital compression algorithms, and its unrivalled versatility in terms of detailed control over attack and release times, knee settings, ratio, threshold, filters (low pass and band pass), and other crucial factors, are a must-have.

The Weiss Compressor/Limiter, for all its unassuming charm and apparent simplicity, is a beast, both in terms of sheer sound quality, and flexibility.

And being able to push a track to the appropriate degree of loudness without unpleasant artifacts from the limiter is rightfully expected of any modern mastering engineer. That’s when the quality of your tools really matters; the Weiss is the only product that allows you to achieve such a clean, sweet, and dynamic sound at high levels. And with two brand-new advanced limiter algorithms on top of the Weiss original (including the Type 2 true peak limiter), you have more top-of-the-line options with Weiss than ever before.

Of course, this being a plug-in, you can run as many instances of it as you like, so there’s nothing to stop you using its uniquely clear and precise character on individual instrument tracks. Take a bass guitar, for example, through the Compressor/Limiter with a low-pass filter applied, to compress only the lowest frequencies and fatten out the body of the instrument. Or use the Compressor/Limiter on a vocal in conjunction with the Deess, for perfectly tailored dynamics processing across the frequency range, and no compromise.

Whatever you do with it, the Compressor/Limiter’s unbeatable sound-quality makes it a joy to use, and ultimately leads to better-than-ever finished sounds, so buy it today.