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FabFilter
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Beautiful sound. Fantastic workflow. These are the foundations of FabFilter. We create powerful audio plug-ins with superb sound quality and innovative interfaces.

A unique perspective

At FabFilter, we make the best possible tools for music production and audio processing. To achieve this, we continually rethink and challenge industry standards: we've never been afraid of reinventing the wheel. Considering every little detail, we tune our algorithms and interfaces until they sound perfect, look amazing and feel great to work with.

It's the sound that counts

Above everything else, you need superb sound quality. That's why we put a lot of effort into developing unique audio processing algorithms, ranging from our famous resonating filters to transparent high-end EQ and dynamics processing.

Innovative interfaces, great design

Every FabFilter plug-in has an easy-to-use, well-designed interface aimed at providing unsurpassed workflow. Our plug-ins focus on the task you're performing at that specific moment: they expose the features you need, when you need them. And because of our special attention to design, you'll be delighted every time you open a FabFilter plug-in.

Products by FabFilter

Latest reviews of FabFilter products

Pro-Q 3
Reviewed By doobie
February 12th, 2022

Fab filter makes great products...will be buying more of their products soon...so far only own fab filter pro q 3.

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Volcano 3
Reviewed By Fraggle
December 18th, 2021

Sounds delicious, .

Looks beautiful.

2 notches in serial modulated makes most sounds (to my ears) creamy and divine.

no regrets on buying it - a huge improvement on V2.

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Volcano 3
Reviewed By zisser
December 15th, 2021

It's so much more than just a filter!
Really love the whole modulation idea and how easy it is to get things moving.

The plugin also features MIDI modulator with all the expected controls (mod wheel, pitch, velocity and mapping) as well as MIDI learn. The only downside to this is that you need to add a MIDI track and route the MIDI.

Here is a walkthrough covering all the features and demo some presets.

https://youtu.be/YPA8rrsruJs

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Timeless 3
Reviewed By zisser
May 12th, 2021

FabFilter - TimeLess 3 Review and Demo - vintage-sounding tape delay, reverb and echo.

This is another great plugin by FabFilter and it sounds great. The effects are great and the modulation options are the best part. really enjoying creating new soundscapes with few clicks. If you did deep and start modulate the filter and pitch you can get some creative sounds and that's the magic.

https://youtu.be/J-DLbHEv53c

More Reviews and Tutorials at UDi Audio

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Pro-R
Reviewed By Den*
April 16th, 2017

Amazing very flexible very good sounding reverb. it can sound however you want.

Very impressive Fabfilter.

Highly recommended.

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Pro-MB
Reviewed By oskroskroskr
April 1st, 2015

What we're looking at here is quite possibly the most powerful dynamics tool known to mankind. There really is very little else in the same ballpark, and the pro-MB is even vastly more powerful than the previous dynamics plugs produced by FF.

I think the major application for the pro-MB is in altering or repairing audio loops and tracks that have been recorded previously - ie where several channels are now irrevocably layered. This could mean spicing up classic drum loops, remastering old "masters", gating or reducing certain instruments in a mix, or replacing one drum sound in an old loop.

The plug appears to be generally promoted as a "multi-band compressor" - however I think it might be more useful to call it an advanced dynamic equalizer. Probably the first thing to note is that this thing does all four varieties of dynamics equally well. Specifically this means: 1) standard compression (reduce above the threshold, raise the output), 2) upward compression (increase below the threshold), 3) transient enhancing (increase above the threshold, lower output) and 4) basic expansion (reduce below threshold). Switching between these modes is done by a comp/exp button and a positive/negative range. It took me a long time to get my head around this and I found I had to write notes about the different modes until it sunk in. These relatively uncommon modes allow you to do things that no other plugs can do. For example, using upward compression you can raise the volume of some background percussion without altering the sounds of other instruments. Basic expansion allows you to vastly reduce certain instruments etc.

The dynamics processing can be tweaked in just about every way you could possibly desire. There is an optional lookahead of up to 20ms, oversampling up to 4x, program dependent attack and release, variable knee shape, optional limiting by range, and variable ratio. There is literally nothing missing in this thing and it's all exceptionally well implemented. It can be transparent even when you are really pushing it. Furthermore there is an extremely useful wet/dry that runs up to 200%, which allows you to create an over-the-top sound and then scale it back to the realms of normality.

On top of these remarkable features the compressor is "multi-band". Therefore radically different compressor settings can be ascribed to various frequency ranges. For example there may be upward compression on the mids, basic expansion on the lows, and transient enhancing on the tops. Each band may also be "side-chained" to a different frequency range, ie when the bass sounds you could chose to raise the top end, and so forth. The dynamics band can also be triggered by an external sidechain (one per instance of the plug). This allows you to potentially insert new sounds into an old piece of audio, ie you could insert a new kick drum sound into the low frequencies.

Another feature (damn there's a heck of a lot) is the stereo processing. Individual bands can be panned (at the gain knob) to either mid or side. Each band can further be set to process only the mid or side by varying amounts. Although the "stereolink" knob is over there near the sidechain section, it actually affects the processing of the band, not merely the triggering. This feature also exists in the FFproC2. It can be confusing the first time you come across it.

The analyzer is very good although I preferred it much faster and more precise than the default. The incoming signal is not exceptionally differentiated from the outgoing - the outgoing has a defined line to the top of it. It takes a while to learn but it can be very useful.

I'm not going to talk about the "dynamic phase" business because I don't entirely understand it. I couldn't get a bad sound out of it. The mechanics are probably not all that important to the end user.

So I have really written a lot here a lot about this plug. I think perhaps it is more powerful than many artists/producers will know what to do with. In many ways it feels "ahead of the game". I think folks are going to discover this and use it to do things that have perhaps never been done before.

Don't think I have ever written such a glowing review. What's going on? :-)

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Pro-L 2
Reviewed By stardustmedia
July 23rd, 2014

I give a 10/10 for mixdown purposes, and that's what I use it for.

The GUI is awesome and self explanatory. It gives you a very good view to what it does to the signal. But if you prefer to be not distracted by your eyes, just turn the graphic off.

Pro-L gives you an input gain, turn it up, lean back and watch the cool graphics and it will limit at the ceiling you set with the out gain in the right bottom corner. It's as easy as that and works almost all the time for single channel processing.

For further processing, e.g. for stereo signals, busses or even master, you can change the algorithm (called "Style"), lookahead, attack, release and how transients and release influences stereo signals (see section "Channel Linking").

Especially for mastering situations you can choose oversampling, dither, noise shaping and ISP (inter sample peaks [protection]). And if that's not enough just assign a MIDI controller to any of the parameters and tweak Pro-L for creative uses or simple automation draws.

I use Pro-L for channel processing only, when the signal has a wide dynamic range and needs more than compression to bring it up in the mix. It saved my life many times.

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Pro-L 2
Reviewed By oskroskroskr
July 6th, 2014

So I took the FF Pro-L for a test drive:

The first thing you notice is the amazing display. Looks like blood dripping over icebergs. The dripping red indicates the volume being squeezed off the peaks. You can even roughly "tune" the limiter by aiming to get the reduction (red) to neatly fit the peak (light blue). The attack and release correspond well to the display, but I couldn't notice any visual representation of the lookahead. I can hear changes as I move the dial but can't notice anything on the display. Guess I shouldn't ask for too much.

The operation can be divided into two stages. Firstly the transients are detected and squashed according to the lookahead and "style" values. Then the limiter applies "attack" and release to the result. Calling this first part of the envelope "attack" is unnecessarily confusing. It would probably be better to call it "hold" or "delay". Measuring the attack in seconds is also pretty confusing at first. Thankfully the display gives you a good idea of what is going on.

There's also the option of separating the channels (0-100%) for both stages of the limiter. I haven't explored this feature yet. It's making my head hurt just thinking about it.

The "style" variations do genuinely sound quite different, especially at high gain settings. With all the options it's hard to imagine not being able to get a good sound out of the Pro-L. You might find you can comfortably squash 10db off your tracks with this thing.

What else can I say?

It's got oversampling. It's got dithering and something called ISP which you probably don't need.

It's loud.

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