Quote: tedmanzie Originally Posted by Lagerfeldt, if you're able to comment, how do you think the quality of these Logic plugins compares to other similar types? (UAD / Waves etc)

That's a good question.Wall of text alert!First of all, the Logic Compressor can do the job just as well as many other compressors. There's nothing inherently bad or exceptionally good about it, although it does offer more flexibility than other (stock DAW) compressors.Secondly, these circuits aren't emulations, although they aspire to react a bit like their source inspirations. If you want actual emulations go for the UAD versions instead, although you might be disappointed in the way most emulations fail to capture the harmonics of the analog hardware.You can do a lot of things with these Logic Compressor circuit types, so it's probably easier to talk about what you can't do or what I'm personally missing:I'd like to see a variable look-ahead time. This is important in avoiding distortion with extremely fast attack settings and in avoiding clicks during external side-chain ducking when using the fastest attack setting. FabFilter Pro-C 2 has variable look-ahead, for example, but some of its styles are a bit OTT to my liking.The lack of variable look-ahead isn't a criticism of any analog emulation style plug-in - since look-ahead doesn't exist in the analog world unless you fake it with a time-shifted external side-chain signal - but it would certainly be a nice feature to have in any digital compressor.I'd also like to see a variable ratiodependent range setting, i.e. a controllable gain reduction cap, like you have in FabFilter Pro-C 2 or Flux Solera. This enables you to set a high ratio with a low threshold and cap the gain reduction at x dB. For example: You've set your threshold and you've set your ratio and you're happy about the sound. Let's say the compressor does an average of -6 dB of peak gain reduction. Suddenly something triggers the compressor to do -10 dB of compressor some places in the song, which you don't like. To avoid this you have no other choice than to either automate your settings in all those places or to generally pull up the threshold or reduce the ratio or the attack time in the compressor. Doing the former can be tricky and time consuming in a full song and doing the latter will mess up your nice sound. But a compressor with a ratio independent range setting simply allows you to set a cap of -6 dB GR and keep your settings. Easy peasy. This also allows you to do nice fake upward compression, better than through regular low-level compression.Some compressors have a hidden ratiocap, such as the old but excellent Waves Renaissance Compressor: e.g. at ratio 1.28:1 it'll max out around 6 dB of GR no matter your input signal level, attack and threshold setting. Raising the ratio will also raise the range.The different algorithms in the Logic Compressor are good for different things because they react and sound in different ways. So understanding how and why means it's easier to understand when you need which kind of circuit.Not sure there's a point to my ramblings here, but if there's one it's this: it's nice to have a wide palette of compressors to choose from, and knowing how and when to use what compressor circuit is a lot more important than getting the newest XYZ celebrity endorsed inflexible fire-and-forget Waves plug-in that'll overcook your signal in a second.And finally, at the risk of sounding like an old grumbling man (age 43 at the moment): a lot of people claiming this and that plug-in sounds so much better often fail to grasp even the basic concept of how a compressor actually works.