I have no idea. I never understood how it worked so I didn't even notice it was missing? How did work? What are you missing in terms of functionality?
Pro-C3 should be 100% backwards compatible (down to single sample accuracy) to Pro-C2 so.. ?
Fabfilter Pro-C 3
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- KVRAF
- 11363 posts since 3 Feb, 2003 from Finland, Espoo
Pro-C3 should be 100% backwards compatible (down to single sample accuracy) to Pro-C2 so.. ?
"Wisdom is wisdom, regardless of the idiot who said it." -an idiot
"They don't ban hate speech; they ban speech they hate." -an oracle
"They don't ban hate speech; they ban speech they hate." -an oracle
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- KVRian
- 666 posts since 11 Apr, 2006
Yeah, that's one of the two things I was including in "options that uses lookahead"
Good oversampling for non-linear effects needs a little bit of lookahead to keep things in phase.
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- KVRAF
- 11363 posts since 3 Feb, 2003 from Finland, Espoo
I approve of this message.OverBrightBlueLED wrote: Sat Jan 17, 2026 10:27 amAt least you would be supporting the Dutch public health fund, with some of the highest taxation in the world, which is great. If you are Dutch.Vortifex wrote: Fri Jan 16, 2026 3:34 pm Maybe I'm becoming miserly in my old age but the thought of paying more for a compressor than I paid for my entire DAW just feels wrong
Pricing is almost an insult. This compressor is really nothing to worry about not owning.
Enjoy making sweet music, this comp will have no impact whatsoever on the results of a mix compared to even free software.
https://bedroomproducersblog.com/2020/0 ... essor-vst/
https://www.production-expert.com/produ ... ding-money
There is little you cannot get done in mixing with ZL comp, Kotelnikov, FIRCOMP2 and so many others.
And if you really want to Klanghelm DC8C will do pretty much everything for €23 FULL including punch and snap.
https://klanghelm.com/contents/products/DC8C
No need to feel left out on whatever this release was.
No seriously, the dude is 100% correct in absolutely everything. Pro-C and FabFilter plugins in general are what I'd call "luxury items". Nobody should have FOMO for plugins in general (except maybe Reverb plugins.. haven't found top of the line stuff for peanuts/free yet other than Super Massive which doesn't cover all the bases).
"Wisdom is wisdom, regardless of the idiot who said it." -an idiot
"They don't ban hate speech; they ban speech they hate." -an oracle
"They don't ban hate speech; they ban speech they hate." -an oracle
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- KVRAF
- 10128 posts since 16 Dec, 2002
12 pages of gush for a limiter 
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- KVRian
- 997 posts since 31 Oct, 2020
Wrong thread bro
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- KVRAF
- 3642 posts since 6 Aug, 2009
huh? some ppl like it, but some are not interested. how many pages are we allowed to discuss these things?
am much-impressed with C3, glad i upgraded. that, and Q4, are (for me), essential tools...
_______________________
https://upstatebrooklyn.com
https://upstatebrooklyn.com
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- KVRist
- 314 posts since 12 Mar, 2004
About the release times: there is something that got lost in this discussion. While I can follow every single argument that bmanic makes, i.e., that this is hard or impossible to get right with all the compression modes and different non-linear behaviors, the miss is that arguably most people (at least that I know) have never used the Pro-C2 modes extensively other than "clean". Possibly that didn't do the Pro-C2 modes justice even 10 years ago when it was released, maybe the old modes aren't as bad as people talk them to be and likely that limitation is not longer the case in Pro-C3. But I'm sure we are mostly talking about the clean mode behavior when we are talking about people who really like to see some help with the rhythmic release times.
So that said, "clean" is also a program dependent mode, so theoretically, it still should not work well with calculated delay times on the release and we still have parameters like knee, attack, hold etc. that all influence the release time behavior that can absolutely miss the actual release timing you want to achieve. However, with "clean", it still works somewhat and it reaches the release curve end at roughly the calculated note length. Yes, the release curve is non-linear and still feels good. It is about getting in the ballpark, tweak a few things like hard-knee, readjust release to fit the attack etc., watch how the GR curve acts before the next transient and be done with it when it feels good or try something else when it doesn't. It's not about absolute mathematical precision.
So now with the modes, I do agree that a strict note-synced release is probably not a good idea and that it implies behavior that isn't working as expected. Especially now with the compression modes becoming more important. Maybe a solution that is more fitting is a feature like the one that Goodhertz introduced in all of their plugins last month. In any time-based parameters, you can textually enter the note, like "1/4", "1/4D", "1/4T", etc.. The plugin reads the tempo from the host and calculates back the milliseconds to the parameter based on the entered note. No syncing to tempo changes, just essentially a built-in delay time calculator reading the host tempo for convenience. And they did that in all plugins no matter whether it makes sense in a specific time-based parameter or not. That way, the user can figure out himself on what settings the note-calculated release makes sense or not.
So that said, "clean" is also a program dependent mode, so theoretically, it still should not work well with calculated delay times on the release and we still have parameters like knee, attack, hold etc. that all influence the release time behavior that can absolutely miss the actual release timing you want to achieve. However, with "clean", it still works somewhat and it reaches the release curve end at roughly the calculated note length. Yes, the release curve is non-linear and still feels good. It is about getting in the ballpark, tweak a few things like hard-knee, readjust release to fit the attack etc., watch how the GR curve acts before the next transient and be done with it when it feels good or try something else when it doesn't. It's not about absolute mathematical precision.
So now with the modes, I do agree that a strict note-synced release is probably not a good idea and that it implies behavior that isn't working as expected. Especially now with the compression modes becoming more important. Maybe a solution that is more fitting is a feature like the one that Goodhertz introduced in all of their plugins last month. In any time-based parameters, you can textually enter the note, like "1/4", "1/4D", "1/4T", etc.. The plugin reads the tempo from the host and calculates back the milliseconds to the parameter based on the entered note. No syncing to tempo changes, just essentially a built-in delay time calculator reading the host tempo for convenience. And they did that in all plugins no matter whether it makes sense in a specific time-based parameter or not. That way, the user can figure out himself on what settings the note-calculated release makes sense or not.
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- KVRAF
- 11363 posts since 3 Feb, 2003 from Finland, Espoo
You are still missing the point and didn't answer this question: WHERE at what point in the release cycle do you "hear the beat"? Is it at zero? Is it at 10% left of the release cycle? Is it at 20%? When do you HEAR the release as "rhythmic"?? This is not possible to objectively decide. Even if you mathematically calculate 1/4 or 1/4D into milliseconds, you still have to decide at what point does the user actually hear it as a rhythmic element.. and that becomes entirely subjective.
It's like Shuffle.. What determines actual shuffle "feel" of a beat? At what point does it go from a mild shuffle to a precise 3 quarters shuffle? One man's subtle shuffle is another man's straight beat. Some things in music are infinitely difficult to quantify.
I get the feeling that tempo synced release is a "feel good" control for insecure people. I guess FabFilter could just ballpark it and those that complain that it's missing wouldn't be complaining any more as they'd simply be happy with the feature and never actually listen and question it's implementation. Or alternatively they would get it "wrong" for some people who subjectively think that it's "off" and "not in time" and then rise a ruckus over the net and complain that the feature is broken.
Having said that, maybe adding a precise mathematical calculation of the the general release curve (lets say to about 10% of the end of the release cycle) would allow people to "snap" the release curve to a somewhat accurate timed number and they could then fine tune it from there. That could possibly be a feature worth considering. I just fear that it could cause more problems down the line and becomes yet another button or modifier key system to add that ends up never being used and eating a lot of development time.
Maybe a compressor isn't even the correct tool here for those kinds of applications. Something like Shaperbox or similar that simply gets triggered by incoming audio would possibly be a better tool. Or a very simple envelope shaper timed to the DAW clock.
It's like Shuffle.. What determines actual shuffle "feel" of a beat? At what point does it go from a mild shuffle to a precise 3 quarters shuffle? One man's subtle shuffle is another man's straight beat. Some things in music are infinitely difficult to quantify.
I get the feeling that tempo synced release is a "feel good" control for insecure people. I guess FabFilter could just ballpark it and those that complain that it's missing wouldn't be complaining any more as they'd simply be happy with the feature and never actually listen and question it's implementation. Or alternatively they would get it "wrong" for some people who subjectively think that it's "off" and "not in time" and then rise a ruckus over the net and complain that the feature is broken.
Having said that, maybe adding a precise mathematical calculation of the the general release curve (lets say to about 10% of the end of the release cycle) would allow people to "snap" the release curve to a somewhat accurate timed number and they could then fine tune it from there. That could possibly be a feature worth considering. I just fear that it could cause more problems down the line and becomes yet another button or modifier key system to add that ends up never being used and eating a lot of development time.
Maybe a compressor isn't even the correct tool here for those kinds of applications. Something like Shaperbox or similar that simply gets triggered by incoming audio would possibly be a better tool. Or a very simple envelope shaper timed to the DAW clock.
"Wisdom is wisdom, regardless of the idiot who said it." -an idiot
"They don't ban hate speech; they ban speech they hate." -an oracle
"They don't ban hate speech; they ban speech they hate." -an oracle
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- KVRist
- 314 posts since 12 Mar, 2004
True, it's not possible to tell beforehand how the material will react and how it will feel, especially along with the tracks playing next to it. That's why you can enter and try different notes lengths and shift the release around. Sometimes it is 1/4, sometimes it is 1/8, or whatever it is. Often, you have to adjust the release backwards to end more clearly before the next transient hits. The percentage in that case doesn't matter if I hit only nearly what I like. It's just a workflow shortcut to try out specific release times in compression modes where they somewhat work as a starting point. Certainly none of the more analog modelled modes. Not more, not less. You may call it insecurity. Thats actually pretty spot on. I would call it rough ballpark starting points to try when you don't know exactly where to go. A remedy to decision fatigue. I think it's fine to have situations in mixing where you don't always immediately know where to go next.
Your shuffle example is also spot-on. If you ever used Akai swing or so, you know that you usually start with a straight beat and then start to move the swing slider until the vibe is right. That's pretty much the same workflow idea. Again, I know it's not always working and sometimes not even working in the ballpark. And I agree that tempo-syncing strictly to the daw tempo is probably not the right feature and implies wrong things.
I do think it's valuable to explain in an unheated way what the use case is. I'm sure you'll still not agree with it. That is okay. I hope you realize that I haven't actually disputed a single point you made. We are just looking at this from different angles I think.
Your shuffle example is also spot-on. If you ever used Akai swing or so, you know that you usually start with a straight beat and then start to move the swing slider until the vibe is right. That's pretty much the same workflow idea. Again, I know it's not always working and sometimes not even working in the ballpark. And I agree that tempo-syncing strictly to the daw tempo is probably not the right feature and implies wrong things.
I do think it's valuable to explain in an unheated way what the use case is. I'm sure you'll still not agree with it. That is okay. I hope you realize that I haven't actually disputed a single point you made. We are just looking at this from different angles I think.
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- KVRer
- 18 posts since 5 Sep, 2024
It’s weird that I can’t delete my account
Last edited by LaserLobes on Tue Jan 27, 2026 4:28 am, edited 1 time in total.
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machinesworking machinesworking https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=8505 - KVRAF
- 7977 posts since 15 Aug, 2003 from seattle
FWIW I bought a bundle of Pro L, G and C years ago. Debating upgrading Pro-C since I already have dozens of choices on compression, and seriously, for the most part with synths and samplers, it's already compressed, if you're constantly recording drums and vocals I get it, I'm not. So I might just wait for the 30% sales to upgrade.bmanic wrote: Sat Jan 17, 2026 1:32 pm No seriously, the dude is 100% correct in absolutely everything. Pro-C and FabFilter plugins in general are what I'd call "luxury items". Nobody should have FOMO for plugins in general (except maybe Reverb plugins.. haven't found top of the line stuff for peanuts/free yet other than Super Massive which doesn't cover all the bases).
Pro-G on the other hand is still as version 1, and IMO it's worth it, just miles better than most any other Gate out there, when you need a truly surgical gate.
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- KVRer
- 1 posts since 10 Jul, 2024
Does anyone have more info on hardware inspiration of the 'Vari-Mu' and 'Op-El' modes? My first thought was the Manley Vari-Mu and Elop, but I’d love to know if anyone has confirmed that or if there's other gear they might be based on.
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Funkybot's Evil Twin Funkybot's Evil Twin https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=116627
- KVRAF
- 12442 posts since 16 Aug, 2006
Ok the wavy faders aren't just visually annoying, but the horizontal movement required to engage them is ergonomically annoying too.
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- KVRian
- Topic Starter
- 694 posts since 9 Dec, 2021
Saturation button is a problem too, why do we have to open a menu to toggle it and change the amount? Just separate them. This also ties to the wavy sliders, If they just changed them to horizontal sliders, now there's space for the drive slider below the saturation knob that only shows if on, then a toggle button and mode chooser above it.