Compression and EQ are the two most essential tools in mixing.

You’ll probably apply them on every single track in your session before the mix is complete.

With such a key part of the music production process, you need to have tools you can rely on.

But choosing the right compressor plugin isn’t easy. There are thousands of compressor VSTs out there, and not all of them work well for every task.

Even so, it doesn’t have to be intimidating. You’ll always get the right tool for the job if you know what a compressor does, the different compressor types and where they work best.

TDR VOS SlickEQ. The first plugin to be tested is the very fine and professional looking TDR VOS. Best Free Vocal VST Plugins. Luckily, you can add some color to your vocal and thicken them up a little with Multiply Chorus. DC1A is a little compressor with nice vintage design and a simple and intuitive interface. Nothing complex here – all you have is 2 knobs and 4 buttons.

In this guide I’ll go through each style of compressor, recommend a smart choice for every budget and show the best ways to use them in your mix or master.

What is a compressor?

A compressor is an audio processor that’s used in mixing to reduce the dynamic range of audio signals. Dynamic range means the difference between the loudest and quietest parts of a sound.

You’ll need to reduce the dynamic range of most signals you record so that both the loud and quiet moments are equally audible in the mix.

Check out our detailed guide to compressors if you need a more in-depth overview to get you up to speed.

The concept seems simple, but there are different ways to implement compression that have different sounds and uses in a mix.

Most of them come from the days of analog hardware. Those classic sounds are still in high demand today.

Plugin manufacturers have developed digital equivalents to bring those timeless tones to your DAW.

Let’s get started.

FET compressor plugins

FET compression is one of the most essential compressor sounds in music.

FET compression is one of the most essential compressor sounds in music.

It stands for “field effect transistor” and it’s the mechanism used in the all-time classic UREI 1176 compressor.

The 1176 has a long and illustrious history and is still used by virtually every professional studio to this day.

FET compression can be fast and aggressive while staying transparent enough to create extreme shifts in dynamics.

It has a pleasing vintage character with satisfying bloom and saturation when pushed.

FET compression is great on percussion, vocals and anywhere you need fast and aggressive yet stylish gain reduction.

Free plugin: Analog Obsession FETISH

Analog Obsession FETISH is an excellent free software 1176-style compressor.

Many independent developers are turning to new methods of distributing their software. Analog Obsesion dev Tunca has moved their entire plugin library to Patreon.

The plugins are still free, but consider getting a subscription if you use them often.

Cheap plugin: Plugin Alliance Lindell 7X-500

At just $29 USD (at the time of this writing) Plugin Alliance’s digital recreation of the popular Lindell 7X-500 series module is a charmingly inexpensive way to get started with FET compression.

This handy FET compressor packs all the snappy attack and analog warmth of the hardware and sounds great anywhere you might use an 1176.

Best Compressor Vst

Pro plugin: UAD 1176 Collection

UAD wrote the book on emulating the 1176 in software. Their take on its legacy is still widely respected as the best in the business.

The expanded 1176 collection includes several rare revisions of the original circuit modelled to perfection.

Optical compressor plugins

Optical compressors use photosensitive light cells to control the compression.

It’s one of the earliest methods of controlling gain reduction that’s often found in classic early units.

Metal drum vst free. Optical compression has a particularly musical sounding action due to the physical properties of the photocell.

Optical compression has a particularly musical sounding action due to the physical properties of the photocell.

It’s a little slower and gentler than FET compression with a pleasing feel that works well on many different sources.

The legendary Teletronix LA-2A is an optical compressor with a tube makeup gain stage.

It’s probably the most well known optical compressor and many engineers all-time favorite for vocals.

Here are some great options based on the optical sound of the LA-2A

Free plugin: ADHD Levelling Tool

ADHD Levelling tool is a handy freeware compressor that will bring LA-2A style optical compression into your sessions without breaking the bank.

With additional controls for attack release and threshold, Levelling Tool isn’t exactly a direct clone, but the sonic inspiration is clear.

Cheap Plugin: Waves CLA-2A

Waves CLA-2A has been on the scene for a while now, but it’s still a great option for the smooth optical sound of the LA-2A in your DAW.

Waves plugins are often available on extremely deep discounts from sales and offers.

It’s worth waiting for one to come around if you want to get your hands on the CLA-2A without spending a fortune.

Pro Plugin: Softube CL1B

Softube CL1B is based on Danish manufacturer Tube Tech’s tube-driven take on the optical LA-2A design.

Softube’s recreation is spot on and this pro compressor plugin offers all the weight, heft and tube warmth of the original.

Tube compressor plugins

There are lots of tube compressors out there, but like the LA-2A, not all of them create their gain reduction effect using the tubes themselves.

Creating compression with vacuum tube circuitry alone is possible, but it’s considered much more difficult and expensive than other methods.

That’s why true tube compressors (sometimes called “delta-mu” compressors) are large, bulky and expensive.

The tubes and transformers required to make these processors work are impractical for all but the most serious setups.

But all that iron and tubey goodness results in an incredibly powerful sound.

The most well known all-tube compressor is the vintage Fairchild 670. These classics are so rare and expensive (authentic units have sold for over $100K) that most producers will never even see one, let alone hear it on their tracks.

Luckily, plugin manufacturers have been creating digital recreations of the Fairchild and other beefy sounding tube comps since the dawn of digital.

Creating compression with vacuum tube circuitry alone is possible, but it’s considered much more difficult and expensive than other methods.

Tube compressors sound fantastic in many situations, especially any time you want to enhance the source material with pleasing colouration and saturation.

Free plugin: Klanghelm MJUC jr.

Klanghelm produces a suite of excellent analog modelling plugins for free. MJUC jr. is no exception.

MJUC jr. is the little brother of the highly regarded MJUC delta-mu style compressor. This completely free plugin will get you the tube driven compression tones of the larger version with ease.

It’s hard to imagine that a mixing tool this useful and musical could be available completely free…

Cheap plugin: Arturia TUBE-STA

This stylish delta-mu style compressor has the vibey look—and sound—of the legendary Gates STA-Level hardware unit that dates back to 1956.

This near mythical vintage comp commands the typical high prices of old school tube compressors and is famous for its ability to utterly squash the signal without unpleasant artifacts.

Arturia’s fantastic take on it gives you all the tube texture of the original.

Pro Plugin: UAD Fairchild Collection

UAD produces some of the most highly regarded digital replicas of analog gear.

With the Fairchild collection, they’ve gone all out, modelling each and every component down to its most idiosyncratic elements.

This is as close as you can get to a real Fairchild in your DAW—and that’s a wonderful thing.

VCA compressor plugins

VCA compressors came on the scene in the 70s with the introduction of integrated circuits (ICs) that could perform gain reduction cheaply and with more predictable results than earlier methods.

This technology gave rise to classic units like the DBX 160 and SSL Bus Compressor.

The SSL Bus Compressor in particular has become a secret weapon on the mix bus for many producers.
It offers a clear and classy sound that enhances punch and impact while providing the “glue” factor that makes a mix sound cohesive and integrated.

Free plugin: Ableton Glue Compressor

I’m cheating a bit here since this is a built-in DAW plugin. But if you’re an Ableton Live Suite user you already have access to an excellent VCA style compressor modelled on the SSL bus comp.

Glue compressor works great for providing that subtle sonic adhesive that holds individual busses and entire mixes together.

Cheap plugin: Cytomic The Glue

Cytomic’s The Glue is another great take on the SSL Bus compressor design.

It’s a lightweight plugin that will give you that classic VCA gain reduction without choking your CPU.

Pro plugin: SSL Native Bus Compressor

If you’re searching for the classic SSL sound, why not go straight to the source?

SSL’s suite of native plugins includes an excellent take on their classic VCA bus compressor design that can give you all the glue, punch and flavor of the original.

Digital Compressor plugins

The sound of analog hardware has an enduring appeal for most engineers.

But that doesn’t mean there aren’t excellent compressors out there with completely digital DNA.

Digital compressors are perfect whenever you want ultra-transparent compression that doesn’t affect the basic sound of the source material.

In fact, the lack of limitations in the digital domain gives developers the freedom to create some ultra high performance compressor plugins.

Digital compressors are perfect whenever you want ultra-transparent compression that doesn’t affect the basic sound of the source material.

Free Plugin: TDR Kotelnikov

TDR Kotelnikov is a legend of the free plugin scene.

This well-designed VST shows off the power of high-fidelity digital compression with a classy sound and deep control.

Cheap plugin: Klanghelm DC8C

Klanghelm DC8C is a chameleon of a compressor plugin that can cover a huge range of different sounds.

With extremely detailed control over nearly every possible aspect of the sound, the sheer flexibility of this compressor makes it a top pick to showcase the power of digital.

Pro plugin: Fabfilter Pro C-2

Fabfilter Pro C-2 is the undisputed king of advanced compression.

This top quality compressor plugin sounds gorgeous and features a user interface that makes even advanced compression features simple to use.

Deep dynamics control

Compressors are extremely important in music production, no matter what genre or style of music you mix or master.

Today there are more plugin compressors available than ever before. Having so many options is great, but sorting through them is a challenge.

Now that you know some different types of compression and what they’re good for, get back to your DAW and squash some signals.

No audio toolbox would be complete without a compressor. They are some of the most versatile pieces of gear with complex and simplistic functions alike.

Coloration, check…dynamic control, check…mix glue, check. Varied circuit designs in analog compressors make certain models better for one task than another and with the design of digital compressors, choosing the right tool for the job can become more difficult.

Plugins have been attempting to model their real-deal analog counterparts for years, but also offer some new innovations to the world of gain reduction. Check out these awesome plugins and listen to what a proper compressor can do for you.

FabFilter Pro C2

For those looking for a great “do everything” compressor, the FabFilter Pro C2 has exactly what you need and a ton more. This compressor manages to pack eight compression character styles, lookahead gain reduction, 4x oversampling, mid/side control, and the ability to affect each channel independently or linked as a stereo pair with the Stereo Link control into one of the most incredible interface designs plugins have seen.

The eight modes of the compressor allow the Pro C2 to add some coloration to your mixes. Version 2 adds five new modes: Vocal, Mastering, Bus, Punch, and Pumping to give you access to tailored responses to match what you are working on.

Mastering engineers will appreciate the new metering. The size and the accuracy of these meters have increased, and FabFilter adjusted the Pro C2 to comply with the EBU R128 loudness standard. Combine this with the 4x oversampling and GPU acceleration and you have one accurate plugin.

All of this functionality and versatility make this compressor a great choice for any engineer looking for a lot of features in one package. Check out the FabFilter Pro C2 for access to a large toolset within one beautiful plugin.

Waves SSL G-Master Buss Compressor

There are several reasons engineers have opted to use a stereo compressor on their master bus. When mixing into a compressor, engineers are often looking for more “glue” to their mix or they are after a certain coloration. Check out our article on Mix Bus Compression for more information.

One of the most legendary examples is the compressor from the SSL 4000 G console’s master section. Thanks to SSL and Waves, this emulation can bring you the tone of those boards for vintage coloration and the “glue” effect of this legendary console. To build on its accuracy to the original, Waves added modeled analog hum from the SSL 4000 G for even more coloration abilities.

This plugin is typically used for master bus compression, but also shines when your goal is to tighten up drums or piano. If you need a way to add the glue and polish to your mixes, check out the Waves SSL G-Master Buss Compressor.

Universal Audio Teletronix LA-2A

Among all hardware compressors, there are a couple that stand out as studio legends. One of those legends is the Teletronix LA-2A. The LA-2A is an optical compressor with a tube output stage. Featuring slower attack and release times, and vibe to spare, the LA-2A has become known for its warmth and character that can be heard on countless records. Universal Audio, the current manufacturer of the reissue hardware, decided that rebuilding the legendary compressor wouldn’t be enough. As a part of their UAD plugins, they took it upon themselves to get all of the famous sounds modeled into their Teletronix LA-2A.

As an optical compressor, most of the common uses of 2As include instruments with fewer transients and vocals. Bass and vocals have been commonly treated with this style of compression, both for its smoother gain reduction and in the case of the LA-2A, for the warmth of the tube output stage.

The plugin offers three variations of the compressor. The LA2 has the slowest attack and release like many 1950s compressors, while the gray and silver models have medium-fast attack and release for a more typical response similar to the vintage LA-2As that have earned their legendary status. Just like the hardware, there aren’t many controls. Output gain and peak reduction controls are available as well as the ability to change metering and switch between limiting and compressing. If warm, tune-aided optical compression is what you are shooting for, but you’re short the $3,000 to buy the hardware, check this out. There’s got to be some reason it’s on so many records.

PSP Audioware VintageWarmer2

PSP Audioware created a multi-faceted set of plugins when they created the VintageWarmer2. Having three modes of operation and precise emulation of analog equipment, the VintageWarmer2 is a great compressor for mixing and mastering with tons of analog saturation available.

The first mode, called MicroWarmer aims features speed, release, drive, low, high, knee, and output controls. With the addition of the shelving EQ section, this mode can be used for tone shaping while offering a scaled-back, CPU-friendly compressor. The second mode is a direct successor to the original VintageWarmer. It aims to keep low latency while adding brick wall limiting, multi-band compression, frequency selection for the EQ shelves, and more release settings. The third mode, VintageWarmer2, features the FAT mode. This mode allows the plugin to double sample incoming audio for more an improved analog sound.

The plugin has become known for its characteristics when overloaded. PSP aimed to make the VintageWarmer2 exhibit tape like qualities when pushed to overloading. Because of this, the plugin is very useful for coloration, saturation, and of course, compression. For a good emulation of analog processing that can be added effectively to a mix or master, check out the VintageWarmer2.

Tokyo Dawn Labs TDR Kotelnikov

For the engineers who want smooth compression that doesn’t sound too obvious, the TDR Kotelnikov is a good place to start. Not only is there an entirely free version, but there is also a lot of flexibility available here to tailor your compression characteristics to taste.

The controls allow for threshold, peak crest, soft knee, ratio, attack, and two release times. Most of the controls function just as they would on other compressors. The Peak Crest knob can be viewed as a blend control for what the plugin is reacting to. The higher the setting, the more the Kotelnikov reacts to RMS level, the lower the setting, the more it reacts to the peak level. The control can be set to allow for only peak or only RMS, but the ability to blend the two reactions together allows for smooth and configurable reduction. The Kotelnikov allows for high pass filtering as well as stereo sensitivity. This allows for more precise control over what is making your compressor react.

The plugin function well in both bus and individual track scenarios. The tone of this plugin allows the original timbre and tone of your material to shine through. With no form of hardware emulation present in the plugin, the TDR Kotelnikov is a new type of digital compressor looking to make a name for its clean, uncolored gluing. Rounding out its features with oversampling and 64-bit processing, the TDR Kotelnikov is worth looking into for your transparent compression needs.

iZotope Ozone 8 Dynamics

iZotope has made a name for itself in the world of mastering and audio restoration. With plugin suites like RX and Ozone, it is clear to see why. The tools provided in these suites are second to none for critical audio work. Within Ozone 8, the Dynamics plugin stands out for its precise control and many options.

Combining the functionality of a quality limiter with a quality compressor is the first thing that makes this plugin so great. Fine-tuning how your mixes and masters sound with this level of accuracy ensures that your finished audio will sound just as you intended. Since its main goal is to act as a mastering compressor, it features mid/side processing, advanced metering, and variable look-ahead times.

The detection filter feature gives even more configuration options over how the incoming signal will affect the compressor’s detection algorithms. Using high pass and tilt modes, the signal can be tuned to have a greater or lesser effect on the compression being used. Other useful features such as learn mode can set where the crossover points used for multiband mode are.

This compressor lends itself to those who need clean compression with lots of versatility. Check this out when mastering as many of its features are geared towards polishing rather than coloring a mix.

Waves CLA-76

The Urei 1176 is one of the most popular hardware compressors in existence. It is capable of incredibly fast attack and release times due to its FET circuit, and infamously features “backward” attack and release potentiometers. Waves skipped no details and left those knobs exactly the way they were when designing this plugin.

The interface mirrors the controls of an analog 1176. The plugin allows for analog hum to be added at fifty or sixty cycles if desired. Depending on which revision mode you choose, you will have entirely different characters available in CLA-76. “Bluey” models the Blue Stripe revision which gives a little more edge to the sound due to hotter gain staging while “Blacky” models the 1176-LN model. Featuring less noise and smoother response, this mode gives a cleaner color to your tracks.

Due to its fast attack and release, this compressor can be useful for transient heavy material such as percussion. The punch that the CLA-76 adds to drums is great whenever you need big drum sounds. If you are after the sounds of the real deal Urei 1176, the Waves CLA-76 can get you started with presets from Chris Lord-Alge. If you have used the hardware before, you will feel right at home. Check out the legendary sounds of the CLA-76.

Softube Tube-Tech CL 1B

Another hardware emulation of a classic compressor. The Tube-Tech CL 1B is another great example of what a killer optical compressor can do for your tracks. Considered to be a “go-to” compressor for vocals of many genres, the CL 1B has demonstrated time and time again what smooth compression is great for. Softube did a painstaking recreation of the classic hardware and succeeded in maintaining its smooth and transparent tones.

The controls on the plugin mirror the hardware with a few small changes. In addition to gain, attack, release, threshold, and ratio controls, the plugin allows for parallel compression to be done from within the plugin. Save yourself an auxiliary track and use the knob to blend the perfect amount of compression into your mixes. On top of this, a sidechain low cut “switch” was added to the plugin for additional tweaking options.

This compressor has made itself known for its use with vocals, but many bassists have sworn by the CL 1B as well. It may be worth trying out on a master bus for the transparent and smooth tones it can yield. If a more transparent optical compression is what your mix needs, you won’t find much better than the CL 1B.

Klanghelm MJUC

Variable-mu compressors have been popular choices for bus compression for years. Hardware like the Fairchild 670 and the Manley Vari-Mu have become standards in high-end studios, and have graced many records with their smooth, colored tones. For those of us who cannot drop $30,000 on a Fairchild or even $4,400 for a Manley, Klanghelm has sought to help out.

The MJUC was designed to emulate the best of every variable-mu compressor Klanghelm could get their hands on. The result is a collection that reaches back to the 1950s in available sounds. Model Mk1 offers the most coloration, ranging into dense and thick textures. Model Mk2 looks to emulate designs from the 1960s. It adds four ratios to choose from as well as Density and IStage buttons for more color choices. The density switch adds a second vari-mu stage to reduce the dependence upon where you have your attack and release settings. Model Mk3 looks to be the most Hi-Fi and sounds similar to a 670 in the way that it adds punch.

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The price of this plugin makes the desirable effect of variable-mu compression available to the masses. The MJUC’s versatility and inclusion of different levels of coloration make this a great plugin for any mix or master. For more information on variable-mu compressors, check out our article on Mix Bus Compression.

Bus Compressor Vst

MeldaProduction MCompressor

Melda Production’s MCompressor is one of those plugins that surprises you as you use it. The feature set is very large, and the price tag is very small making complex issues much easier to handle for every engineer who faces them.

To start, the plugin features a transparent tone allowing for straightforward compression with no additional color. It features input/output gain, attack, release, RMS, threshold, and ratio controls as well as three knee modes with size adjustment. This section alone allows for many useful changes to make to your mixes and masters, but the MCompressor does not stop there. It adds mid/side processing, upsampling, a safety limiter, and automatic gain compensation for increased functionality.

The MCompressor can be linked to operate in stereo or unlinked for different compression of separate channels in your incoming signal. To make this plugin even more enjoyable to use, the entire UI can be edited to fit your style or to match your DAW. When transparency, a large list of features, and a small price tag are what your mix needs, Melda Production has your back with the MCompressor.

Conclusion: Whether you are new to engineering or you are a seasoned professional, compression can be one of the harder topics. Luckily, the options in sound quality, configurability, and features allow every engineer a toolkit to accomplish their goals. Whether mixing or mastering, compression becomes important for dynamics, color, and glue. These differences may seem small at first, but their impact on your mixes is noticeable.

Classic Compressor Vst

If you’re looking to hear what top-notch compression can do for your mix, follow the link here for a free mastered sample of your song: https://www.sageaudio.com/register.php

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