Caliper Compressor

Every mode detects, times and colors the sound its own way, so changing mode changes how Caliper reacts, not just how it looks. FET has no threshold: INPUT drives the signal into a fixed threshold, so more input means more compression and more grit. Its four ratios run from 4:1 to 20:1, and ALL gives the harder, grittier all-ratios setting. Opto works from one PEAK REDUCTION control and lets go more slowly the harder it works, so loud phrases settle instead of pumping. Tube and Clean give you a threshold and a ratio. Tube starts compressing well before you hear it, with a wide soft knee, tube-style harmonics and ratios from 1.5:1 to 10:1. Clean reads the incoming signal directly and adds no color, with a knee from 0 to 24 dB and ratios up to 20:1, so it can sit on a master. Attack and release read as real times, and you can click any value to type microseconds, milliseconds or seconds. MIX blends the compressed and dry sound on the track for parallel compression, and AUTO GAIN in Tube and Clean works out make-up level from the threshold and ratio. The bottom strip holds a detector high-pass from 22 to 500 Hz that keeps the low end from making it pump, LISTEN to hear what the detector hears, an external sidechain input for ducking a bass under the kick, and stereo link from 0 to 100 percent. One display shows the input history, gain reduction over time and a needle on a 0 to 24 dB arc. Caliper adds no latency and does not oversample, so it works while tracking as well as mixing. Eight factory presets start you on vocals, bass, a drum bus, parallel drums and mastering, and you can save your own. AU, VST3 and AAX on macOS; VST3 and AAX on Windows. Installs and updates through MuseHub, with no license key. Requires macOS 10.15 or later on Intel or macOS 11 or later on Apple silicon, or Windows 10 or later, 64-bit.