Dual-stage compressor with character. Two legendary compression topologies, harmonic saturation, dual stereo imaging, and three analog character modes — all in a fully routable signal chain you control with drag-and-drop.
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Two distinct harmonic characters — odd-order symmetric tape-like grit and even-order asymmetric tube-like warmth — with a continuously variable Drive control that goes from subtle harmonic enhancement to aggressive overdrive. A transparent DC blocker keeps your low end clean no matter how hard you push it.
Modeled after the classic 1176, the FET stage delivers punchy, program-dependent compression with five ratio settings: 4:1, 8:1, 12:1, 20:1, and All-Button mode. Continuously variable Attack and Release knobs follow the original's inverse-scaled behavior. A dedicated Sidechain HPF (20–500 Hz) keeps kick drums and bass from pumping the detector, and SC Listen lets you audition exactly what the compressor is reacting to.
Inspired by the LA-2A, the optical stage uses a program-dependent LDR timer that simulates the actual chemical memory of a real photoresistor. Hit it hard and the release stretches out naturally — just like a real optical cell that's been working. Back off and it recovers. Compression that breathes with the music instead of fighting it. Includes its own Sidechain HPF and SC Listen for surgical control.
Two independent stereo width modules — Pre-Width and Post-Width — let you shape the stereo image before and after compression. Narrow the image going into the compressor for a tighter, more mono-compatible squeeze, then widen it on the way out. Each module operates in Mid/Side with a dedicated Sidechain HPF that keeps bass frequencies locked to center while only the content above your chosen cutoff gets widened or narrowed. No more muddy low-end spread.
This is where UnderPresser gets its personality. Three continuously variable character processors can be blended independently from 0–100% and stacked in any combination.
Wraps your signal in a pre-emphasis/de-emphasis EQ sandwich with a 50 Hz head bump, running saturation between the shelves. High frequencies naturally roll off under the distortion ceiling — acting as a musical de-esser — while the low end gains analog weight. Perfect for master bus, drum groups, and taming harsh vocals.
Creates a microscopic high-speed feedback loop where a fraction of the distorted output is low-pass filtered and fed back into the waveshaper input. This smears upper harmonic phase, removing the brittle digital edge that no amount of EQ can fix. Ideal for bass guitars, 808s, synth pads, and anything that sounds too sterile.
An envelope follower tracks your signal's volume in real time. Loud transients dynamically force asymmetrical distortion (even harmonics), then relax back as the sound decays. Punch and life without fuzz — a compressor-like effect that lives in the harmonic domain. Built for snare drums, slap bass, percussion, and transient-heavy material.
Every processing module can be reordered by dragging panels into any position. Saturation before compression. Compression before width. Width before saturation. Each one a different creative tool. Your routing is saved with your preset and recalled instantly.
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