FabFilter Pro-C 3 could easily become your preferred compression plugin£149 / $199
Upgrade/loyalty discounts available
fabfilter.com
Pro-C 3 is the latest edition of FabFilter’s versatile compressor plugin, and with its extended set of features, it can compete with and even eclipse many of the formidable dynamics plugins in this price range.

READ MORE: Here’s why FabFilter Pro-Q 4 is almost the only EQ you’ll ever need

Version Three is a major upgrade, adding new compression styles and saturation character modes for added versatility, as well as interesting improvements to the sidechain section that now features a six-band EQ and the ability to use your DAW master tempo or MIDI to trigger the compressor.
The other aspect that has improved is the workflow, with a range of different interface configurations, immersive compatibility, and even a new auto threshold function, which really suits dialogue and podcast editing. Also, with up to x32 oversampling, you can ensure that there is little signal degradation happening, if any.
With all these new professional adaptations, you might think that FabFilter has turned its back on beginners for a second, but you couldn’t be more wrong. Besides the world of different approaches to compression that Pro-C 3 opens up, its strength lies in how easy it is to do more technical processing than you might be used to with your DAW’s stock compressor.

What are some of the bread-and-butter functions of Pro-C 3?
Like most compressor plugins regarded as high-end, Pro-C 3 has been designed to accommodate a multitude of workflows with different applications in mind. However, we’ve all heard the saying about Jack fancying his hand at all trades, so it’s important to single out the functions that make it a go-to dynamics processing solution in your DAW.
Whether you use it as a channel or bus insert, Pro-C 3 has been created to work seamlessly alongside FabFilter’s flagship EQ plugin, as it shows up in the Pro-Q 4 instance list. This simple but powerful integration lets you edit the entire channel strip of FabFilter plugins, also including the Pro-G expander/gate and the Pro-DS de-esser, across your entire DAW session. The fact that you can do this from a single view makes FabFilter a clear leader in this area, and they have cleverly made the instance view exclusive to Pro-Q 4 to incentivise owning more plugins in the range.
Now with a total of 14 compression styles and three character modes, Pro-C 3 becomes any compressor that you need it to be. If you want a Fairchild, simply select the Vintage Vari-Mu compressor style, meanwhile Vintage Op-El mimics the characteristics of the famous LA-2A. Of course, Pro-C 3 doesn’t only model vintage compressors. There are also the familiar Vocal, Bus, and Mastering modes, as well as a range of new Modern styles. The preset library offers a wide range of options, including tempo-synced presets and some that make use of the new TTM mode. However, while the use of descriptions and custom tags is enlightening, I still feel that FabFilter plugins would benefit from a dedicated browser view, rather than a dropdown overlay.
Besides the Versatile and Smooth modes, which are relatively self-explanatory, there is an Upward mode that uses a similar process to the Dynamics control of FabFilter’s Saturn saturation plugin. Meanwhile, the TTM or ‘To The Max’ mode is a multiband algorithm that uses a unique combination of upward and downward compression that brings up the level of softer passages of a performance while reducing levels when it arrives at the louder parts.
To add more character, you can engage a saturation circuit with Tube, Diode, and Bright modes that add different colouration and analogue drift characteristics, and accentuate the harmonics. For flexibility, the Drive control determines the level of the internal circuitry, and it can be placed before or after the compression in the processing chain.
FabFilter Pro-Q 4 instance list in Pro-C 3. Image: Press
How do you use Pro-C 3’s new sidechain features?
With Pro-C 3, the amount of sidechain control you have to trigger the compressor in different ways is staggering. First off, you never have to worry about setting up external sidechain buses in your DAW for a basic 4/4 kick pattern ever again. Instead, the Host sync function lets you use a range of musical divisions, including dotted and triplet timings, and the Offset control lets you make precise adjustments to match the groove of the track perfectly.
Whether you’re triggering the compressor from the internal or external input, you have access to the same level of signal shaping potential. The new six-band EQ is like a miniature Pro-Q, allowing you to place up to six nodes across the frequency range and choose between 10 filter shapes, six filter slopes, and placement over the stereo, mid, or side channels. The sidechain detection circuit also includes a global Stereo Link control to adjust the level of independence between stereo, mid-side, or surround channels.
The ability to sculpt the sidechain signal in so many ways gives you unprecedented control over the compressor’s behaviour. Naturally, this was always possible when using an aux track and a processing chain of plugins, but having this added potential inside the plugin encourages creativity rather than getting lost in signal routing.
FabFilter Pro-C 3 compact view. Image: Press
Why use Pro-C 3 over another compressor?
Because of the popularity of the Pro-Q 4 EQ plugin and how Pro-C 3 forms part of the larger FabFilter processing platform, it’s hard to find reasons not to use both in your workflow, especially if you already own Pro-Q 4. There are, of course, other premium compressors that provide a similar sonic quality and depth of features like u-he Presswerk ($129) or DMG Audio Compassion ($199), but both of these require deeper knowledge of compression parameters to truly master their respective workflows.
Simply having the most advanced feature set does not guarantee users will immediately resonate with the interface. This is certainly something FabFilter has understood, even looking back at the first version of Pro-C, almost 20 years ago. Since then, the company has strived toward designing processors that can be customised for a wide range of applications and consistently deliver great results, regardless of the user’s prior audio experience.
While paying $199 for a compressor plugin seems staggeringly high, FabFilter offers loyalty discounts of up to 60% off the initial purchase or upgrade price, depending on how many of their plugins you own. This means that, if you’re thinking of buying your first FabFilter plugin, it should probably be Pro-Q 4, which becomes central to the ecosystem. At the end of the day, both beginners and seasoned professionals don’t want to be confronted with a technical nightmare every time they use a compressor — and this is exactly why Pro-C 3 is likely to be the preferred choice over any other plugin in its class.

Key features

AU / VST / AAX / CLAP plugin
6 new compression styles (Total of 14)
3 new character modes
6-band sidechain EQ with mid-side and surround channel linking
Host sync and MIDI sidechain input modes
Up to 32x oversampling
Instance list compatibility with Pro-Q 4
Scalable interface with four different size modes

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