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Multiband Compressor by FabFilter
What is it?
Operating System Availability
Operating System Latest Version
System Requirements
32-bit: Windows 10, 8, 7, Vista or XP
64-bit: Windows 10, 8, 7 or Vista (x64)
VST 2/3 host or Pro Tools
System Requirements
macOS 10.12 or higher (64-bit only)
AU or VST 2/3 host or Pro Tools
Intel or Apple Silicon processor
License & Installation Method
Voucher / Code for redemption on other website
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FabFilter Pro-MB is a multiband compression/expansion plug-in introducing unique workflow and signal processing advancements. Featuring free placement of bands anywhere in the spectrum and a newly developed Dynamic Phase processing mode, FabFilter Pro-MB stands out from the plug-in crowd by combining exceptional sound quality with a new way of thinking about multiband dynamics.

Instead of conventionally splitting the entire spectrum with crossovers, Pro-MB enables you to directly create a new band at the frequency range you want to work on. The interactive multiband display clearly shows that the rest of the spectrum stays untouched. And if desired, you can easily snap bands together to recreate a traditional crossover system.

FabFilter Pro-MB introduces a unique Dynamic Phase processing mode. It has virtually the same frequency response as traditional multiband processing, but doesn't introduce latency or pre-ringing, and only introduces minor phase changes when the gain actually changes. Of course, it also includes an excellent Linear Phase mode and a traditional Minimum Phase mode.

Up to six bands can be created, each offering a choice of downward or upward compression or expansion, together with a full set of dynamics controls, from range, ratio and knee control to lookahead and variable stereo linking. Intelligent, highly frequency- and program-dependent algorithms ensure excellent results with all kinds of program material. In Expert mode, more advanced features become available: mid- or side-only processing, external side chain triggering, including the option to trigger on a different, freely configurable frequency range.

FabFilter Pro-MB's large interface is streamlined and uncluttered. Creating, snapping and selecting bands is a breeze, as is adjusting and tweaking multiple selected bands. At any time, the most important settings for all bands are visible at a glance, together with a real-time dynamic gain change curve and spectrum analyzer. Intelligent audio processing combined with optimal interface workflow makes FabFilter Pro-MB an absolute time-saver and a joy to use.

Key features:

  • Up to six processing bands, freely placed anywhere in the spectrum.
  • Bands can be easily snapped together to form a traditional crossover system.
  • Unique Dynamic Phase processing mode featuring zero latency, no static phase changes and no pre-ringing artifacts.
  • Excellent Linear Phase processing mode, eliminating audible artifacts when quickly changing crossover frequencies.
  • Minimum Phase processing mode.
  • Handles any form of dynamics processing, from highly transparent compression, limiting and expansion to pumping upward compression and punchy gating.
  • Fully customizable per band: threshold, range, attack, release, output gain, ratio, variable knee, lookahead (up to 20 ms), variable stereo linking, mid- or side-only processing, external side chain input, triggering on a separate frequency range.
  • Steepness of each crossover slope can be freely adjusted between 6 dB/oct and 48 dB/oct.
  • Intelligent, highly program- and frequency-dependent attack and release curves.
  • Unique interactive multiband display, designed for an optimal workflow.
  • Global dry/wet mix from 0% to 200% to easily scale the total effect of the plug-in.
  • High-quality audio processing algorithms with 64-bit internal processing where needed.
  • Up to four times linear-phase oversampling.
  • Accurate and smooth real-time frequency analyzer with pre- and post-processing options and 'freeze' feature.
  • Precise output metering.
  • GPU-powered graphics acceleration.
  • Double-click text entry of parameter values.
  • Stereo and mono plug-ins available.
  • Supports common Pro Tools hardware control surfaces, such as Avid ICON D-Control and D-Command.
  • All the usual FabFilter features you've come to expect: fine-tuned knobs and controllers, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization, and more.

Introduction video

{See video at top of page}

User Reviews Average user rating of 5.00 from 1 review Add A Review

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? :-)

Read Review

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