Fabfilter Pro-C 3

[MrJubbly]

Could some other users please also test how their CLAP format is performing for them within the "Instance List" view within other DAWs? (i.e. for any projects containing multiple instances of these plugins - CLAP format only).

This is how it renders in Bitwig, all CLAP format:

I do have a CLAP capable DAW (Reaper) but I always used the VST3 version of the plugin. I'll check the CLAP version ASAP. Heck I don't even think I've yet installed the official release even. I'm probably a whole release candidate behind in versions.

Thanks for your testing and feedback, guys.

I have also now received official feedback from FabFilter support, confirming this is likely to be an issue with the current implementation of the relevant CLAP extensions within FL Studio. I have therefore submitted a bug report to Image-Line accordingly.

Cheerz!

[teilo]

Something is screwed up with their price discount mechanism. I own every single FabFilter plugin, including Pro C2, and my upgrade is $69. I have never paid that much for a FF plugin upgrade.

that's what it cost (i just purchased, upgrading from C2). they're doing the work, let them get paid....

It's the same discount I have seen before. The base price has just gone up. Inflation.

[exmatproton]

Love it so far. The pre/post saturation addition is a warm one

[Raddler1]

Great update! BUT, why do the knobs on all Fabfilter plugins feel loose and delayed. When I click a knob and drag, the response doesn’t feel tightly linked to the cursor like in other plugins. Almost like the knob and cursor move independently to one another. Distracts me more than I'd like.

[fisherKing]

Great update! BUT, why do the knobs on all Fabfilter plugins feel loose and delayed. When I click a knob and drag, the response doesn’t feel tightly linked to the cursor like in other plugins. Almost like the knob and cursor move independently to one another. Distracts me more than I'd like.

what DAW, what OS? have never experienced that (& it's fine currently as well)...

[enCiphered]

Great update! BUT, why do the knobs on all Fabfilter plugins feel loose and delayed. When I click a knob and drag, the response doesn’t feel tightly linked to the cursor like in other plugins. Almost like the knob and cursor move independently to one another. Distracts me more than I'd like.

Yeah, this is actually known and intentional FabFilter behavior. Their knobs use a relative, speed-dependent drag model, so the knob doesn’t track the cursor 1:1 by design. They explain it here, if this is what you mean:

https://www.fabfilter.com/forum/topic/2 ... n-behavior

[fisherKing]

Great update! BUT, why do the knobs on all Fabfilter plugins feel loose and delayed. When I click a knob and drag, the response doesn’t feel tightly linked to the cursor like in other plugins. Almost like the knob and cursor move independently to one another. Distracts me more than I'd like.

Yeah, this is actually known and intentional FabFilter behavior. Their knobs use a relative, speed-dependent drag model, so the knob doesn’t track the cursor 1:1 by design. They explain it here, if this is what you mean:

https://www.fabfilter.com/forum/topic/2 ... n-behavior

hmmm..

[Raddler1]

Great update! BUT, why do the knobs on all Fabfilter plugins feel loose and delayed. When I click a knob and drag, the response doesn’t feel tightly linked to the cursor like in other plugins. Almost like the knob and cursor move independently to one another. Distracts me more than I'd like.

Yeah, this is actually known and intentional FabFilter behavior. Their knobs use a relative, speed-dependent drag model, so the knob doesn’t track the cursor 1:1 by design. They explain it here, if this is what you mean:

https://www.fabfilter.com/forum/topic/2 ... n-behavior

Yeah, that pretty much sums it up. Thanks.

Still, I'm not sure why it has to be that way. Seems like their desire to be different just gets in the way. Most plugins don't use this feature and they work just fine.

[fisherKing]

i've never for a moment registered anything like that. i make adjustments, and hear those adjustments. and i've been using FF plugins for as long as i can remember (which, to be fair, isn't that long).

really, am surprised to read this. are others cognizant of this behavior?

[vitocorleone123]

MIDI triggered sidechain is a pretty cool idea. gonna pass on this though as I don't care for the rest, and the new analog modelled algos and slapped on after the fact nonlinearities are not wowing or beating anything else I use or own currently.

I deleted several compressors already. I foresee C3 being the defacto default for me. I don’t much care for most specific emulations, though I seem to like a great SSL G - will probably just end up using this and, eventually, The Glue v2.

[oobesan]

Now that the cat is out of the bag, I can disclose that I am indeed somewhat involved with the actual development itself (last time I was hired by FabFilter was with Pro-L2). So once you all have the demo running and want to ask any more specific questions I may be able to answer some of them.

Don't expect an unbiased review or opinion on Pro-C3 from me though, I'm way too deeply connected to the development process this time around. Having said that, those that know me, that doesn't stop me from being critical of even my own work.

I like to switch my compressor to RMS detection for pianos and sometimes busses. Pro C is supposed to be a put-it-anywhere, “ABC” compressor. Not including an option for RMS detection mode seems like a lazy and weird choice.

Yeah, I do somewhat agree. However, the original idea all that time ago, with Pro-C was to minimize the amount of controls and streamline the user experience. Thus you do not have RMS controls but you do instead have multiple different algorithms, all suitable for different things. For instance, now in Pro-C3 you can use the new 'Smooth' algorithm to easily do very gentle, easy to manage compression which is sort of similar to RMS compression. It's not directly an RMS based compressor but the end result of how it behaves behind the scenes results in similar behavior.

And in Pro-C2 you already had the 'Mastering' algorithm (which is still there in Pro-C3 of course). It behaves exactly like super gentle RMS compression with a relatively long window, yet it's much more capable than simply slapping on RMS detection on an hoping that the users set the values correctly and understand what RMS actually means and how it works.

If you do get the Pro-C3 demo, please check the 'Keys' preset folder. I made several presets that are quite specific for piano. For instance these two:

"Beautifyllu Sustained" (yes.. oops, I guess that typo will stay in the preset name )
"Invisible Sustain". These two presets represent exactly what one would normally do with RMS style of compression on piano.

Though if you are talking about "cunky / blocky" very obvious pumping sort of RMS piano compression, then there are solutions for that too but I assume you are talking about the more invisible kind as it's usually the more common thing.

Hope that helps!

That was truly such a thoughtful reply. Thank you.

That rationale works for me. Because, I’ll be honest, I just don’t care that much about compression! It’s not something I fuss over that much. It’s a “set it and forget it” plugin for me. I’ve never used presets with a compression plugin, like, ever. But I’ll give your piano presets a shot!

[rod_zero]

So they have basically made a "meta", as in a higher level of abstraction, channel strip, it gives you a single point of control for many effects in many channels. Very cool idea.

[OverBrightBlueLED]

Found C2 no better than freeware comps and stock. Expensive, late, no better. I use ears and my DAW and am very satisfied.I will rely on the other 20 excellent or so compressors I use without the delay of learning something new.

An almost pointless expensive update. Empty wallet for no better end result. Saturation the new GAS carrot for sub par waste of money releases.

[Dombaeb]

Compressors and equalizers differ from each other these days in terms of ease of use and the number of controls. That's why people choose interfaces and additional advanced features for sound engineers, rather than a special sound. The average musician who is not too keen on complex mixing of 50-70 tracks has enough plug-ins at his disposal, it's true. The Pro C3 is a very intuitive, reliable compressor with advanced features for engineers. Do you need something more?

Found C2 no better than freeware comps and stock. Expensive, late, no better. I use ears and my DAW and am very satisfied.I will rely on the other 20 excellent or so compressors I use without the delay of learning something new.

An almost pointless expensive update. Empty wallet for no better end result. Saturation the new GAS carrot for sub par waste of money releases.

[bmanic]

Pro-C2 was quite "vanilla" when it came to special sauce and that elusive analogue sound. That is absolutely no longer the case with Pro-C3.

I spent almost a year of development time on the Versatile algorithm and it's very far from being a by-the-book compressor. I was kind of hoping somebody would be running it through Plugin Doctor by now but so far only one Youtube influencer seemed to notice just how much is going on under the hood. A huge shout out to Audio Toolshed for that.

'Versatile' algorithm is quite peculiar in how it works internally and quite different from all the other models. It's the only algorithm that actually creates a lot of strong 2nd harmonics, frequency dependently, through the compression itself. It doesn't have any saturation bolted on or anything fancy or tricky like that.. but it's a very capable "mojo" thing all by itself. It is also using a sophisticated release which is frequency dependent (slower release on low frequencies but also shaped in a different way to keep even stronger 2nd harmonics the lower you go).

If you set stereo linking to 0% you'll also notice that there is very subtle variation constantly happening between left and right channels. This can be used to get very subtle stereo detachment on mono sources or even some stereo width for stereo sources. You know, that feeling of things just being "slightly more 3D" when you plug stuff into an analogue chain. Well, this algorithm aims to model that kind of behavior but not at all exaggerated. It's super super subtle but it's there.

I've also carefully tuned attack and release knob ranges to be useful and tonally interesting no matter where you set it. The full range of the attack knob is in use so don't be afraid of exploring the 100 to 250ms range. It changes the shape of the attack and is interactive with the release. Thus the typical slow attack + fast release was designed to be a punch monster, so that you can get even the flabbiest kick to really punch if you so desire.


My other algorithm called 'Smooth' is a pseudo-feedback design. It's purpose was to explore extremely "musical" and easy to setup compression. It's especially effective when the AUTO release button is used and release % is set between 60 to 90%. It should absolutely effortlessly glue signals and just "dance gently with the incoming audio" (can't really figure out any other way to put it!). It thrives with low ratios, very soft knee (24dB all the way to 72dB!) and deep thresholds. However, you can of course also use much higher ratios, sharp knee and any way you like and even if it is a feedback like system, it is internally compensated to never stop itself from compressing. The harmonic profile and tonality was also calibrated to make it as nice sounding as I could get it, always staying "smooth" in it's sound and trying to avoid forward pushing feeling.


And then finally there's the 'Bright' saturation algorithm. It's a bit of an oddball thing. It's mainly meant to be able to shave off some transients quite transparently while still having a pleasant harmonic profile. Unfortunately the sweetspot for that transient shaving is sometimes difficult to find as it kind of sneaks up on you and can be difficult to detect on some audio sources. However, I decided to keep the design because it also sounds really good at very low drive levels.. almost all the way down to the noise floor. And finally it also distorts very weirdly once you truly push it hard. It starts by saturating bass but sort of leaves highs alone. It's surprisingly potent on vocals because it starts saturating the lows and low-mids way before it does anything to the high-mids and highs. It's a very weird algorithm, very unique and thus in my opinion very useful among the other two saturation algorithms. I can absolutely guarantee you that no other plugin has this kind of saturation nor will it ever exist anywhere else. It isn't based on anything other than my twisted mind.

Oh and one more thing: 'Bright' saturation was actually developed in tandem with the 'Versatile' compressor algorithm. They complement each other very well due to the strong 2nd harmonic nature of the compression. There is a whole universe of "mojo" explorable with just these two algorithms in tandem. I highly suggest checking out the 'Sauce' preset folder and exploring what I did with the "Gentle Harmonic Magic" preset. 'Versatile' algorithm was used here for the strong 2nd harmonics (it's doing barely any compression at all.. like 0.3dB or so) and is skewed by a crazy 36dB all-pass filter in the middle signal only.. and it's also set to M -> S linking mode which means the mids are compressing the sides, meaning the mid signal is dictating the harmonics generated on the side. And simply by changing the attack and release knobs you can vary the underlying harmonic structure. Yeah, there's subtle mojo for days to be explored here. I'm a sucker for that kind of stuff so naturally I had to add something like this to Pro-C3 when FabFilter kindly gave me the chance to do so!

Anyhow, that's my part of the development explained.

EDIT: Oh and do explore Op-El and especially the Vari-Mu emulations. Those are deep deep emulations and more importantly, extensions of famous known compression topologies. The Vari-Mu algorithm goes incredibly deep and is difficult to grasp as there are some hidden features that I discovered only a few days before release. Open up the SideChain panel and use the Side Chain Level control to sort of "bias" the tube pair that does the VariMu thing. I'm not sure if this is a bug or unintended feature but it is NOT the same as simply changing the threshold. It completely changes the behavior and feel of the Vari-Mu algorithm! I really hope it isn't a bug that suddenly gets "fixed" though.. as it's an awesome feature.

Also don't forget to explore the 'Mix' control in the Input/Output panel in the bottom right corner. It's not exactly a normal mix slider. Rather it's a built in multiplier for everything and because we are dealing with highly program dependent algorithms, that mix slider can be abused. 2:1 ratio can be made to be 4:1 ratio but it will not sound the same as simply changing the ratio, at least not on the more complex models.

Cheers!
bM