Mastering Compressor

199.00 ex. VAT

SKU: 54 Category:


The Sonoris Mastering Compressor

The Sonoris Mastering Compressor is a wideband mastering compressor in VST, VST3, AU, and AAX format for Windows and Mac. It is an ultra clean compressor suitable for delicate material.


No odd harmonic distortion that can be found in most compressors, is present in the SMCP. To reduce residual artifacts, the SMCP features upsampling of the audio up to 8 times. Transparency can be further enhanced by selecting auto-release and feedback detection together with two soft knees.


If a more aggressive behavior is needed, you can choose feedforward detection with a harder knee. It can have some character if pushed. If needed, the audio can be warmed up by even harmonics with the flip of a switch.


Besides working on a full mix, the SMCP can also work in split mode on the individual L, R, M or S channels or anything in between, with the variable link.


The sidechain for each channel has a selectable high-pass, band-pass and low-pass filter. This gives great flexibility and allows for creative enhancement of the audio.


  • Ultra clean wideband mastering compressor
  • Ratio ranging from 1:1 to infinity for compression and limiting
  • Attack ranging from 0 msec to 1 sec
  • Selectable auto-attack
  • Release ranging from 1 msec to 5 sec
  • Selectable auto-release ranging from 0.5 sec. to 5 sec. program dependent
  • Threshold ranging from -60 dBfs to 0 dBfs
  • Very flexible knee setting from hard to soft in 100 steps
  • A second knee that enables the compressor to adjust the ratio back to 1:1 above the threshold, also adjustable in 100 steps from hard to soft knee
  • Feedback and feedforward detector types
  • Selectable high-pass, band-pass and low-pass sidechain filters
  • Variable: sidechain linking is adjustable from fully linked to fully split
  • Highest Link: sidechains linked with the highest value of the left and right channel
  • MS Split: sidechain signals split with the mid and side channels
  • Make up gain ranging from -18 dB to +18 dB
  • 2x, 4x, 8x or auto upsampling for even less artifacts
  • Selectable gentle even harmonic distortion on the output
  • Parallel compression fader
  • A/B comparison
  • Large graphical display with dragable handles for maximum control
  • Scalable user interface
  • Gain transfer plot
  • High resolution gain reduction meter
  • High resolution level meter with resettable peak indicator
  • Full automation possible
  • Mousewheel support
  • Settings can be saved and loaded
  • Double precision internal resolution and interfacing with compatible DAWs
  • Windows 32/64 bit VST, VST3 and AAX versions
  • Mac OS 64 bit Intel / Apple Silicon VST, VST3, AU and AAX versions
  • Installer and uninstaller
  • Easy Online License Activation
  • USB drive based license activation for offline computers

Although I have used other digital processors with some success, I don’t think that any of them gave quite the same transparency of performance as the Sonoris.


This is the best mastering compressor I’ve ever heard in the digital realm!


Mastering Compressor represents a technological breakthrough: it’s the cleanest compression we’ve heard to date, and it’s capable of extreme punch when required.

Computer Music

I am STUNNED by the quality of both the eq and the compressor, particularly the compressor. WOW.. I used it for mastering, SO transparent, it’s just like transparent glue and everything sounds exactly the same, just better and tighter. And then I used it with the HPF for deessing, and it was doing a better job than my $250 (…) deesser! There was no audible dip in the overall audio, just removal of the sss.

Theodore Mandylas

Story: I regularly record one of Australia’s leading orchestras. For years I’ve been using a very good transformer & valve preamp on the main DPA4006TL mics. It just works in that hall, with this band, with these mics. I recently had a chance to demo the new uber expensive Schoeps preamps, which we recorded alongside my regulars. The resolution of the Schoeps was impressive, but there was some goodness missing, especially on the forte sections. On impulse I placed first one, then two instances of your compressor, just for the harmonic distortion alone (no compression engaged). Bingo! my colleague and I looked at each other – that’s it! All the resolution but now with the goodness. True story.

Simon Lear

bsound Ltd

I’m really excited about mastering my new album with it.
It is “the” best mastering compressor I have ever used!

Robert Wolf