TBTECH Cenozoix: A Compressor for Everyone

Written by Bytemapper

At the heart of any mix I do, there are compressors. I use them often, both for creative and more utilitarian reasons. Now, I’ve got a veritable armada of compressors that I reach for. MK-609, TrackComp 2, Pro-C 2, and Unisum are among my absolute favorites when it comes to mixing and mastering work alike. 

TBTECH made a splash a few years back with the release of KirchhoffEQ, an intriguing blend of retro sensibilities coupled with FabFilter’s keen eye for design. They’re back again with Cenozoix, a compressor that acts as a worthy complement to their previous release. 

Modes, Modes, Modes

Now, when you first boot up Cenozoix, it doesn’t look like much. The default clean setting has controls for peak/RMS compression, feedback/feedforward, and odd/even harmonics. So what? We’ve seen this stuff a thousand times, your DAW’s stock compressor has this in spades. 

Right above the aforementioned controls, you’ve got the real meat of Cenozoix. You have multiple selectable modes, some modern and some based on hardware compressors. Selecting one of these modes changes the character of the compressor’s action, how it responds to your material, and the harmonics it imparts. 

I’m a big fan of the 1176 and Vari-Mu modeled here. I can take or leave the SSL, it does what it does quite well. However, I find TrackComp 2’s SSL Bus compressor far more pleasing to the ear and far more accurate to the action of the compressor from personal experience. 

Cenozoix models 12 classic compressors with models like the LA-2A, SSL, API 2500, ELI Distressor, 1176, Fairchild, and more. Each of these have their own drive section, which we’ll get to shortly. 

There are other additional modes, that are more akin to the compressor action selections you’d see in Pro-C. They’re unerringly clean, easy to use, and great for general mixing purposes. 

Beyond Usual Compression 

What really sets Cenozoix apart from most software compressors is the additional controls you get over the material. There are two notable controls beyond the attack and release to keep in mind along with a pair of intriguing controls that accentuate material. 

Punch/Pump is the first of the more unusual controls and determines how the compressor’s envelope is interacting with the material. This isn’t too unusual for users of Pro-C from FabFilter, but having granular control over how much the compressor is pumping is unusual and welcome for. 

Tight is something I’ve yet to see in a compressor. This knob immediately tunes the attack and release alike in relation to low frequency content. The net result can result in smoother compression or the addition of harmonics when low frequency transients are present. 

This is rounded out with the Sensitive and De-Click controls. Sensitive is for the adaptive auto-release and responds to the material as necessary. You can make it quick and snappy or more sedate, enabling smoother overall dynamic control. 

De-Click is used for transients that leak past the compression envelope. When you’ve got fast snappy material like a snare, toms, or even cymbals, you can run the risk of accentuating the presence of DC offset. De-Click applies a clean hard clipper to reduce the risk, keeping your meters and ears happy. 

Finally, before moving into the sound, is the drive section. Each compression mode can ostensibly function as a full-blown saturator. You can crank up the drive to determine how pronounced you want the harmonic content. The best part, for me at least, is that you can mix and match the drive types with compressor models. Want LA-2A output saturation paired with a fast 1176 compression action? You can do it. 

How Does It Sound?

I’ve had ample time to put Cenozoix through its paces. I’ve found that it nets fantastic results on the whole. It achieves natural, clean compression that doesn’t sound unlike a solid studio hardware processor. 

The drive types breathe new life into material, with my favorites being the modeled Distressor and API for bass guitar and drums respectively. It is a great general purpose compressor, as you can add saturation or keep things clean and mix as needed. 

Simply put, it excels where sound is concerned, thanks in part to the integrated oversampling and more granular control over the trickier elements of software compression. 

Wrapping It Up

So, is Cenozoix worth it? Well, that certainly depends on your tool chest. If FOMO is a close relative and you’re snapping up every must-have plugin, you aren’t likely to find much here to inspire. However, if you’re a discerning sort that is after a stellar compressor, then you can’t go wrong. 

It doesn’t completely eat the lunch of a piece of software like Pro-C 2 or TrackComp 2. Those have stellar workflow, yielding immediate results. If you don’t mind a little tinkering, it is certainly worth the price. 

Cenozoix retails for $224, but you can frequently find it cheaper during Plugin Alliance’s frequent sales.