Best 500 Series compressors: Compact rack-mounted legends

No one can deny the convenience and innovation in the market of 500 series hardware. 500 series products allow you to mix and match all kinds of sounds and designs to create new signal chains altogether.

There are multiple types of compressor designs included here like FET, optical, tube, and even a unique marriage of analog and digital technology. There are timeless designs like the API 525 and the DBX160A as well as forward-thinking models like the WesAudio _DIONE. They all offer something unique, and give access to some legendary circuitry.

Read all about the history of modular 500 units, as well as some of the best 500 series preamps here. These are our top choices of the best 500 series compressors available today.

Best 500 series compressor overall: Rupert Neve Designs Portico 543

Neve has long been one of the premier names in compression and its designs have a signature sound that is entirely its own. The Portico 543 is a VCA design with feed-forward and feedback modes.

This adds the option of dialing in a more “vintage” style of compression all the way to more modern sounds. The sidechain high-pass filter lets you control the low end going into the compressor so it doesn’t affect how the compressor reacts.

It includes switchable metering for RMS and peak. And though it runs in mono, it can be linked for stereo applications.

Best 500 series compressor for low end sources: DBX 560A

The DBX 160A is one of the most popular VCA compressors of all time, especially on low end sources like kick drum and bass guitar. The 560A fits that magic into your 500 rack.

It’s easy to dial in with three simple controls over threshold, ratio, and gain. So whether you need the subtle soft-knee of the “Overeasy” style or in-your-face brickwall limiting, this unit can do it all.

Best 500 series compressor for vintage sound: API 525

API created some of the most legendary compressors of all time (and also pioneered the 500 series concept) and the 525 might be their most infamous.

It’s not just one of the best 500 series compressors, but staple of recording history and popular in their large format consoles, the 525 provides all of the vintage 1970s tone.

The ceiling control is a unique concept that lowers the threshold while proportionally increasing the output. It also has a de-essing feature and four release modes.

It has the classic API aesthetics and their timeless sound.

Best 1176 model 500 series compressor: Serpent Audio Splice-500 mkII

Put the sound of two of the most popular FET compressors of all time into your lunchbox. The Blackface and Blue Stripe circuits model two different versions of the 1176.

What’s more, you can mix and match the sounds to forge new sonic territory that can only be achieved with the Splice. A Blend knob allows for parallel compression without having to patch in any other gear or additional routing.

But perhaps the most unique feature is Slam mode which emulates the notorious “all buttons in” setting from the 1176.

Best two space 500 series compressor: Acme Audio Opticom XLA-500

Acme Audio took all of the innovation behind their XLA-3 plug-in and rolled it into a two-space 500 unit.

It offers up all of the warmth and saturation expected in a tube compressor with modern (faster) reaction times. The circuit is a Class A triple optoelectronic topology that blends the three time constants, selectable with a switch.

CineMag transformers round out the circuit and with that you get an optical design that can respond as fast as a FET compressor.

The controls are modest, but what the Opticom does is anything but.

Best optical 500 series compressor: Fredenstein Audio Artistic Leveler

Optical compression like the LA-2A is unlike any other style of leveling. The control set is robust (for an optical compressor) with input, ratio, release, output and mix controls.

The threshold is fixed, which is common for optical designs. Attack times are adjustable by a three-way switch.

As with all of the company’s gear the design is centered around their proprietary OPA2 op-amp and uses a U.S.-manufactured steel core transformer to maintain sonic integrity.

What’s more, if you integrate it with Fredenstein’s Bento Box rack it opens up some additional features.

Best VCA bus 500 series compressor: WesAudio _DIONE

Not only one of the best 500 series compressors, but one of the most unique, The _DIONE is a VCA bus compressor that truly pushes the concept of what digital signal processing is capable of.

Using the GCon protocol the hardware can be integrated into your DAW in a fashion similar to a plug-in. This gives you the sound of a 100% analog signal with the convenience of digital. This includes instant settings and automation recall.

Parameters can be dialed in and managed over USB or through the company’s _TITAN frame. For an even more authentic analog sound there is configurable harmonic distortion and filters to fine-tune the response.

For ensuring that only the frequencies you want to trigger the compressor are allowed through there is a side-chain HPF and two unique “tilt” bands.

Best compressor/limiter 500 series compressor: API 527A

Compression and limiting are similar, but not the same. Sometimes you need both though, and that’s where the 527A comes in.

Its got discrete circuitry with 2510 and 2520 op-amps for the cleanest signal. All controls are detented, and have 31 positions which adds an incredible range of versatility. Two modules can even be linked together for stereo signals.

A soft bypass option lets you add color without adding compression. The unit does feed-forward and feedback and hard and soft knee compression, and Thrust for frequency-dependent sidechain control.

Even though it’s expensive, the amount of utility this unit has is incredible. Who would expect anything less from the company that designed the 500 series anyway.

FAQ

What is a 500 Series compressor?

It’s a modular, rack-mounted dynamics processor designed for the 500 Series format. They’re smaller in size but have professional-grade audio performance. This provides an ideal way to save space without compromising sonic quality.

Can I mix and match brands or models in a 500 Series rack?

Yes, the 500 Series format is standardized. You can combine modules from different manufacturers as long as your rack supports the required power for each unit.

Can I use a 500 series compressor with my existing audio interface?

Yes, you can connect your audio interface output to the input of a 500 series compressor module, then route the compressed signal back to your interface. But you need a lunchbox to house the unit.