Best Compressor VST Plugins of 2018 [GUIDE]

The Most Complete And Comprehensive List Of Compressor VSTs

Your DAW’s Built in Compressors

Best Compressor VST PluginsNow, before I begin this list, I want to begin by saying your DAW’s built-in plugins, equalizers, saturation and compressors and limiters work the same way as almost every other DAW you might find on the market.

The only difference between your built-in compressors and other compressors are features you won’t find in yours.

For example, the attack range of your compressor can’t reach more than 0.10ms. Other compressors can do that.

Experiment with your DAW plugin’s extent before you buy other plugins online!

Best Compressor Plugins

112dB Big Blue Compressor

112dB Big Blue CompressorTalking about your DAW’s compressors, why should I encourage you to purchase 112dB’s Big Blue compressor?

Using your built-in compressor, have you ever tried to drive your mix to the point of squashing every dynamic to make everything louder?

You’ve probably found yourself annoyed with the results because of digital clipping.

Because of its emulated valve circuit, the 112dB’s look-ahead setting allows you to create a smooth clipping track.

The more you push forward, the more you notice the sound becoming attractive and powerful.

That’s valve distortion, a smooth kind of distortion, for your mix!

Lindell Audio 7X-500 Compressor

Lindell Audio 7X-500 CompressorSometimes, you’ll have to sacrifice the attack/release settings of your compressor for a character of compression that you couldn’t find elsewhere.

When I say character, this is an algorithm or a part of the compressor plug-in that couldn’t be directly controlled but is consistently present.

Lindell Audio’s 7x-500 FET Compressor is based on the 1176 FET compressor that’s been famous in Britain for quite some time.

If you’re a fan of some 80s Brit metal or pop, this compressor is definitely for you.

Audio Damage Rough Rider Pro

Audio Damage Rough Rider ProTo drive down value, sometimes you have to sacrifice a bit of quality.

Audio Damage knows the balance between the two.

Not focused on recreating classic compressors, Audio Damage is a multiband compressor.

Unlike other multibands, it has a Multi and Series mode. Multi splits the three bands and gives it separated processing.

Series combines al signals from the bottom to the top band.

Traditional compressors work in a Series manner.

But if you’re up for experiments, I’d suggest you go multi.

Boz Digital Labs +10dB Bundle

Boz Digital Labs +10dB Bundle

As mentioned, you get a bundle.

But it’s not a separate module in this case.

The Boz Digital +10dB bundle is a combination of audio processing features in a single plug-in.

In other words, it’s a channel strip.

Boz Digital had based its emulation off the Audio And Design Compex, which feature an equalizer, compressor, limiter and expander.

Expanders are the opposite of compressors mind you.

The best thing about the ADC original, which the emulation captures, is the powerful mild to aggressive sound as you dial in a higher ratio in the controls.

Brainworx VSC-2

Brainworx VSC-2Vertigo sound was a German manufacturer who developed some pretty useful compressors and other audio processing units during its time.

The compressor has some limited ratios from 2:1, 4:1,8:1,10:1 and a compression brick, which automatically turns it into a limiter.

But then again, that’s the characteristic of this plug-in.

The best thing about it is you get that German classic 80s sound with the drums if you know how to use this!

Cableguys Kickstart

Cableguys KickstartIn EDM, if your DAW’s default compressor has no sidechain option, you’re going to need to get one to achieve a “ducking” effect that would lower the volume of one part and allow the other to have a more pronounced sound.

Automation helps EDM producers achieve a balanced sound without clipping while attaining a very loud mix.

Teaming up with Nicky Romero, the Cableguys people can make your kick really sound awesome in the PA mix.

But even home and professional studios can benefit from an extra-pronounced kick when needed.

Cakewalk CA-2A T-Type Levelling Amplifier

Cakewalk CA-2A T-Type Levelling AmplifierDon’t be deceived by the ‘amplifier’ tag. Cakewalk, now owned by Sonar, released the CA-2A based from the original Teletronix LA-2A.

The Teletronix LA-2A is a classic opto compressor that uses a tube circuit to provide amplification.

As what we’ve heard with the valve/tube circuits earlier, they have a gentler approach to compressing your sound.

The LA-2A is infamous for its ’emphasis’ circuit located in the R37 control.

While you have two ratio settings that are placed at default, you get the original sound of the Teletronix LA-2A, which can be useful for your production where needed, or if you’re a fan of tube compression.

Cockos Reacomp

Cockos ReacompI’m an avid Reaper fan because the DAW’s price is so low but the quality of design and superiority against more established DAWs are above-industry in my opinion.

I get support for almost anything, including plug-ins. The DAW default compressor I have in this DAW is amazing.

It has the ease of sidechain setups, can create a feedback compression mode, can have variable RMS size, a powerful yet optional make-up gain and uses very low CPU.

It is also very, very transparent, to be honest.

Cytomic The Glue

Cytomic The GlueIt might have a name that would remind you of first grade. But Cytomic’s simple compressor is based from the original SSL Duende DSP system.

The Glue, however, did not base its design entirely on the Duende.

It uses the E and G series bus compression on the original system.

It only has three compression ratios with the exact attack times. But Cytomic introduced a 0.3s release time.

Duende DSP is well-known for adding more spice to drum kits, making them essential as buss compressors.

DMG Audio Compassion

DMG Audio CompassionCompassion takes so much from your CPU you could fry it with 10 instances of the compressor running.

However, in exchange is a wide multitude of dynamics processing including compression, expansion/gates, transient shaping and limiting

The fun thing about high-grade compressors is you get a funky display that shows your waveform and the compression response.

It also has some other modules including emulating some classic compressors from the 70s to 90s.

Fabfilter Pro-C

Fabfilter Pro-CIt has a very friendly design. Easy to read visualizations show you the motion your audio dynamics are going.

You have a 1:1 to infinity settings on your compressor.

The Pro-C is a bit expensive, but not because they added a spectrogram and dynamics measurer.

It also has three styles of compression namely classic that uses analog compression, Opto, which is a soft-knee compressor that often has a slower response time perfect for entire mixes and clean, which has the accuracy of modern compressors.

Fabfilter Pro-MB

Fabfilter Pro-MB

The Pro-MB is a multiband compressor variant opposing the Pro-C.

While useful for single tracks, you could actually use it for mastering, without having to kill your CPU power in the process.

This means the Pro-MB can multiband-compress everything in your setup, including every instrument you have and even the vocals, without having to take a very huge CPU hit.

Flux Pure Compressor V3

Flux Pure Compressor V3

Part of Flux’s ‘Pure Range’, the Pure Compressor uses Flux’s ‘Angel Share and ‘Hysteresis’ controls.

Hysteresis mode allows you to create low level compression settings, which make the Pure Compressor have a very transparent sound.

It’s pretty easy to use. However, you’ll have to squint a bit to see the dynamic range’s curve.

FXpansion DCAM Dynamics

FXpansion DCAM Dynamics

Aside from creating awesome-sounding ROMpler samples for their drums, FXpansion’s team also have some amazing plug-ins. The DCAM Dynamics series emulates some traditional SSL 1176 emulation. Twice.

For the price of one, you get two types of 1176 compressors.

To add to their iteration is a powerful CrossComp option that can do a parallel mix with your dry signal.

It’s a semi-multiband compressor (what?) because it has no full spectrum but can split the high and low mix of your audio.

EnvShaper can help you shape transients for drums with the character of the SSL 1176.

IK Multimedia T-Racks

IK Multimedia T-Racks CompressorsT-Racks from IK Multimedia is so powerful it should have its only set of plug-ins and a dedicated CPU because it can burn down your entire setup.

But speaking transparently, T-Racks can emulates some traditional American and British rack compressors from the Fairchild 670 Tube compressor, Pultec EQP-1A equalizer and an opto compressor that no one could figure out but I believe is probably from Audio and Design in the 70s.

ImageLine Maximus

ImageLine Maximus

Anybody who had used FL probably knows who Maximus is. Aside from being Russell Crowe in Gladiator, Maximus is a powerful dynamics processor from FL Studio.

Originally only included in the FL studio, the multiband compressor has a only a few bands, namely three. From the low, mid and high you could fine tune compression effectively. It doesn’t emulate vintage gear.

Maximus allows you to manipulate your dynamic curve line to how you want it. It can even be an expander once you see the capabilities.

iZotope Dynamics

iZotope DynamicsAhh iZotope. it’s been a while. As part of the iZotope Ozone series, iZotope Dynamics can be part of a chain or a standalone.

The standalone version is awesome as it eats less CPU and can be used as a buss compressor or individual track multiband compression. Very light on the CPU.

The auto-gain function is also effective. Being able to mix in a stereo, mono or mid-sides format, you get what you need from this little stand-alone plug-in.

Joey Sturgis JST Gain Reduction

Joey Sturgis JST Gain Reduction

Joey Sturgis is a guy who makes metal sound metal and his plug-ins come from the need to develop new software gear to make his bands sound the biggest and best in the business.

The JST Gain Reduction Plug-In is a channel strip that has an EQ, compression and vocal distortion based on his works for his bands.

The distortion sounds perfect to add a guttural feel to brutal or harsh vocals typical of rock. But if you’re not a rockstar, you could always use it as a saturation and dynamics processor for your drum buss and other instruments that need a little more character.

KlangHelm DC1A

KlangHelm DC1AThis is a free vst compressor and this compressor is an emulation of a famous opto compressor made by the German Manufacturer FET.

While it has limited controls, it does have some serious emulation accuracy.

KlangHelm DC8C 2

KlangHelm DC8C 2Klanghelm’s DC1A brother the DC8C has a processor capable of introducing different compression from Smooth, Punch, Snap and Crush. That’s just the beginner mode.

On expert mode, you get a frequency tilt and an RMS time knob that helps you achieve an optimum performance compressor or something with another type of character with slower peak detection.

Kush Audio UBK-1

Kush Audio UBK-1The UB-1is based from old-school manufacturer Empirical Labs’ boutique compressor the UBK Fatso.

The UBK-1 has three stages that gives you maximum saturation, compression and density. It can add harmonic distortion and introduce powerful character with your signal.

You also get five compressor models including Splat, Smooth and Brickwall.

McDSP 6030 Ultimate Compressor

McDSP 6030 Ultimate CompressorsThe 6030 compressor do not emulate any vintage equipment but instead boasts McDSP’s optimization of resources to attain a great sound.

You get an analog saturator, a side chain option and 10 compressor styles for the perfect fit in your audio processing.

McDSP Compressor Bank

McDSP Compressor BankThe compressor bank emulates some vintage and modern compression hardware.

While the company has not announced the official source materials, the compressor works flawlessly in some of my projects. It also has very low CPU use and provides three types of compression modes.

MeldaProduction MModernCompressor

MeldaProduction MModernCompressor

I’m not really a Melda Prod fan but after using the MModernCompressor, I knew there was a simpler solution to MDynamics

Two features I loved was the level follower and a safety limiter that prevents unwanted digital distortion into your mix.

Vladg Molot

Vladg MolotIt’s not unusual that people are using classic gear, including military audio equipment to process dynamics.

After all, compressors worked to limit audio signals and increase their volume while protecting easy-to-wreck speakers in the past.

The Molot is a compressor during the 70s that introduced a characteristic sound because of its classic Soviet-era circuitry.

While it won’t fit too many songs in my opinion, it can work in ambient music where a uniquely-voiced instrument is required.

NI Vari Comp

NI Vari CompPart of the premium tube series, the Vari Comp is quite sensitive with just small changes to its settings. With a high-pass detector and dry blend control for parallel compression, this is a must have.

NI Vintage Compressor

NI Vintage CompressorNI’s Vintage Compressor Collection can be run through Kontakt or the original Guitar Rig Player.

Inside, you can make use of compressor emulations ranging from the LA-2A, the Dbx 160 and the 1176, to name a few

NI SuperCharger

NI SuperChargerThey gave it for free once in 2013. I snagged one for myself because I was there on time at the proper timing.

It’s a simple compressor with an input trim knob, a sidechain button, a punch and dirt attack setting and a knob for compression.

Dirt keeps a faster attack, saturating the sound. Meanwhile, Punch gives your drums the power to knock over walls. Wow!

PSP Audioware oldTimer ME

PSP Audioware oldTimer MEPSP Audioware was well-known for the first oldTimerME compressor. The oldTimer focuses on reviving the classic sound of tube/valve based rack effects.

The ME has proper independent attack and release settings compared to the original and a valve saturation control.

Added bonuses are left-right/mid-side processing modules, sidechain high-pass frequency and dry and wet knobs. These are all very useful for parallel compressor.

A high-pass filter allows precision compression triggering, which also means removing the muddying bass frequencies to compressors.

PSP Audioware VintageWarmer2

PSP Audioware VintageWarmer2 Another useful compressor from PSP audioware, the original VintageWarmer didn’t really allow for multiple analoge models and separate saturation controls. But VintageWarmer2 can deliver more control to the original.

Along with those controls are an auto-release section, a brick-wall limiting option and a FAT function, which is a double-sampling process that makes the signal warmer in a way the signal becomes smooth. However, what console it’s based from, we’ve still yet to know.

PSP MasterComp

PSP MasterCompPSP Audioware’s mastering compressor looks as simple as it can be. Despite it’s a little bit skimpy GUI is a high quality stereo compressor and expander. And with that, you could expect lots of CPU power needed for this one.

It runs in 64-bit, that should be a first scary clue. I know I’m selling this a bit over the top.

However, if your processor can run it, then you’ve got a powerful compressor capable of creating some reach compression with a transparency unlike any other.

Slate Digital FG-X

Slate Digital FG-X Despite having no make-up gain option and a big eater of CPU power, the FG-X from Slate Digital maximizes loudness and remains transparent even at very loud levels.

The FG X includes FG Comp, a master bus compressor and FG Level that includes a powerful Intelligent Transient Preservation, which focuses on saturation without character.

I know, it sounds strange. But if saturation it meant the effect of compression, then it means the levels stay upward on certain frequencies intended to make things loud.

Slate Digital Virtual Buss Compressors

Slate Digital Virtual Buss CompressorsThe FG Grey, Red and Mu are separately the SSL, Focusrite and Fairchild/Manley hardware audio processors brought into the digital arena.

The three analog units have an excellent analog sound. The buss compressor emulations are amazingly accurate for digital VSTs. Each have their own processor too.

Perhaps the only trouble I found using this is that it eats up lots of CPU power. But think of the chaining possibilities you could do by reordering the three units. All analog circuitry is preserved here.

Softube FET Compressor

Softube Fet Compressor PluginGerman Manufacturer FET made a classic sound during the 80s because of their 1176.

Softube is well known for creating some highly accurate digital representations of classic hardware. Their FET compressor is based on the circuit of the 1176.

This means your signal is already colored even without applying any compression settings howsoever. You’ll get a non-linear compression and a bit of harmonic excitement enter your track.

The best thing about it is its powerful feature to overcompress things while still adding a musical character to your sound.

Softube Tube-Tech CL 1B

Softube Tube-Tech CL 1B

Tube-Tech CL 1B is a bit expensive for beginners. But in my opinion, it was made for beginners. Originally available only for ProTools and TC Electronics PowerCore, Softube is now peddling it a as an independent VST.

According to Tube-Tech, the ones who created the famed CL 1B, Softube’s creating is an exact digital replica of their hardware.

Tube-Tech is known to be very precise and meticulous with their equipment. Let’s take their word for it. But check your wallet first.

Softube Summit Audio TLA-100A

Softube Summit Audio TLA-100A

The TLA-100A is well-known as a digital saturator aside from being a dynamics processor.

Manufactured by Tube-Tech, who has teamed up with Softube to digitally recreate its famous hardware, the manufacturers say it meets their standards as Softube did with CL 1B.

Softube, being Softube, decided to add some more controls. I have tried the real TLA-100A and it sounds amazing with a powerful soft-knee response using tubes to level out the sound.

It also has a wet/dry mix meter, which allows for parallel compression.

SSL X-Comp

SSL X-CompX-comp is an advanced digital compressor that should rival Duende in its approach to compression. With its metering tools and a powerful maximum gain reduction option, you also have the option to parallel compress everything where needed.

But if you’re not a Duende user, chances are it’s going to be a steep learning curve for you. You will still get that powerful SSL sound through this digital piece of equipment, but it can be difficult to handle if you don’t invest time with it.

Sonalksis SV-315 Mk2

Sonalksis SV-315 Mk2One thing I don’t really like about vintage or characterful compressors is that they’re often a one-trick pony; their characteristic limits the possible settings and applications you could use them on.

Sonalksis’ SV-315 Mk2 is capable of introducing enough character and warmth while being useful when treating almost every track that needs compression.

It also has an option for sidechain, making it essential for the contemporary EDM producer.

Sonalksis Uber Compressor

Sonalksis Uber CompressorUber means super, so the Uber Compressor from Sonalksis should be super? Well, it’s a super loudness tool that has a large ratio knob right in front of you.

Attack times aren’t set manually and you have the option to go Instant, Pop, Slap or Pump with your tracks.

Several filters are also available including none, top, bottom, lump or scoop for maximum loudness maximization

Sonnox Oxford Dynamics

Sonnox Oxford DynamicsSonnox’ emulation comes from Sony’s Oxford digital console series sold in the last few years. To avoid buying some more-expensive hardware.

The dynamics plug-in features a punching gating and compression set. It also includes an expansion, a side-chain equalizer and adjustable warmth control for those analog fat sounds.

Transient modulator processes dynamic material and enhances the attack of the drum hits where needed.

Sonoris Mastering Compressor

Sonoris Mastering CompressorIt looks simple enough even for beginners to use, but the Sonoris Mastering Compressor has all the controls you need for mastering compression.

What’s astonishing is its transparent sound and a sidechain filter. It would seem Sonoris put forward clarity above everything else with their plug-in.

The only trouble I found is the lack of proper metering and auto make-up gain.

Steinberg RND Portico 5043

Steinberg RND Portico 5043Rupert Neve built Portico units to create a powerful compressor capable of adding some vintage compression or possibly modern style transparent compression.

I’ve found the 5043 to be useful for powerful, rich-attack bass and colorful snare drums where needed.

Stillwell Audio Bombardier Buss Compressor

Stillwell Audio Bombardier Buss CompressorThe Bombardier is a buss compressor that introduces a smooth sounding compression for your tracks. While it’s useful as a buss and mastering plug-in, the Bombardier can be used on single tracks without much CPU trouble.

The Bombardier’s main feature is the provision of two types of compression, which can be feedback-based or feedforward based. RMS detection helps achieve a smoother response.

Stillwell Audio The Rocket

Stillwell Audio The RocketThe Rocket is based on a classic UREI/UA 1176 made in 1967. It wasn’t until the 70s it was released.

The Rocket, as it would be named by Stillwell Audio, packs quite a punch when put in front of your tracks. It adds enough color and power to drums and even other instruments where applicable.

TDR Feedback Compressor II

TDR Feedback Compressor IITokyo Dawn Records isn’t just a record label. They’re also plug-in developers with a penchant for the classic sounds. Their TDR Feedback Compressor II is written for 64-bit processing.

With powerful oversampling capabilities, this is more than just being transparent.

Perhaps the powerful feature of the TDR Feedback Compressor II is its Peak Crest, which enables you to fine tune the time the signal arrives where the compressor is activated.

TDR Kotelnikov

TDR KotelnikovThe TDR Kotelnikov is based on the original Feedback Compressor II. Upon visiting TDR’s website, they’ve discontinued the Feedback Compressor II in favor of the Kotelnikov.

Despite being in the same line, the TDR Kotelnikov features a powerful control scheme, allowing producers to move the controls as minimal as possible to achieve some outstanding dynamics processing results.

UAD LA-2A Classic Leveler Collection

UAD LA-2A Classic Leveler CollectionThe Teletronix LA-2A leveler was well-known for crunching vocals where it counts. The problem with most modern compressors is that crunching vocals takes lots of new character through harmonic distortion.

The LA-2A had always been a powerful compressor capable of providing smooth, transparent response times.

UAD is not one to be lost in the race to emulate this equipment. UAD has even thrown in three models for size. Wow.

UAD 1176LN

UAD 1176LNIt’s another FET 1176 LN emulation, but not in physical form. UAD, which only rivals Softube and even Waves in emulation, had graced the world with their own iteration of the original 1176 LN Limiting Amplifier.

Like Softube, UAD’s iteration is transparent and flawless. It is capable of introducing massive crunch without distorting the character of the track.

UAD 33609

UAD 33609Based from the original Neve 2254 compressor from 1969, the 33609 is a stereo bus compressor that faithfully recreates the circuit’s infamous sound.

It also includes a bridged- diode gain reduction circuit, other custom transformers and is capable of reproducing the musical character of the original circuit made in 1969. What’s more, you have the original harmonic distortion too!

UAD Fairchild 670

UAD Fairchild 670The original Fairchild 670 Tube Limiter was made using a sampling technique that UAD keeps close at heart. While its valve compression is quite soft to be honest, the limiting is superior and powerful, yet transparent.

The best thing about the 670 from UAD is the ability to control the Headroom pot which allows you to control the amount of coloration applied to your operating range.

UAD Fatso

UAD FatsoUAD also emulated the classic UBK Fatso, which emulates tape, transformer and tube harmonic distortion.

UAD extends its capabilities while retaining the activity of the hardware in the software.

The best thing about it is the emulations are convincing in my opinion and can be used in multitudes of tracks ranging from drums to vocals, even electric and acoustic guitars to control harshness.

u-He Presswerk

u-He PresswerkI would advice new audio engineers to stay out of this one. The flexibility in Presswerk is outstanding for professional audio engineers and your CPU can take a very small hit from using this vintage emulation focusing on analog-style compression.

Now, it might look simple on the outside, but case-specific controls, including signal-detecting presets and feed-forward compression gives your tracks additional character that with a minor deflection, could destroy your tracks without your knowledge.

URS Classic Console Compressors

URS Classic Console Compressors 1970 BundleNow new audio engineers can re-enter the mix once again.

The URS Classic Console Compressors are based from traditional compressors ranging from Neve Machines to SSL and even API.

URS Classic Console Compressors 1980 BundleNow, you could combine these classic compressors in a chain that you would most likely hit a setting that you’d really love and stick with it.

Variety Of Sound Density MKIII

Variety Of Sound Density MKIIIDensity MKIII is a powerful compressor that is unbelievable free. It can work as an individual track compressor or a powerful mastering compressor in one.

In my usage, it also takes very low CPU hit. VOS did a great job with the first Density, but this takes the cake!

Variety of Sound ThrillseekerLA

Variety of Sound ThrillseekerLAThrillseekerLA makes use of Variety of Sound’s “Stateful Saturation” feature that uses a DSP Core system that would create musical harmonic distortion generation using authentic and stageful non-linear models”.

Or so it says on its website. But in use, this compressor can be used on anything. While it’s a machine on its own without emulating anything, it has an analog-sort of sound that works for most tracks I use it with. Sweet.

Vengeance-Sound Multiband Compressor

Vengeance-Sound Multiband CompressorVengeance Sound doesn’t sound so vengeful especially if it has a great sample library to kick off its reputation online. VS just dumped their new mastering suite over our heads and its Multiband Compressor is already doing a great job.

Used mostly for mastering, the Multiband Compressor has four bands that target specific frequencies where you have full dynamic control of your audio situation.

Waves API 2500

API 2500 From ApiWaves hasn’t been lagging behind the development of vintage gear.

The API 2500 is an audio dynamics processor that delivers quite a transparent punch.

The best thing about it is it retains the original spirit of the API 2500 with three position thrust high-pass filters, a variable link left and right channel option and three variable link filter types.

Definitely snazzy.

Waves C6 Multiband Compressor

Waves C6 Multiband CompressorThis is a mastering tool. But this is also a dynamics shaping tool because of its sidechain option. While terribly scoring high on your CPU’s resources, the C6 can de-ess and de-pop almost anything because of its multiband option.

However, do take care and take it down a notch with the instances loading on your screen, yeah?

Waves CLA-2A

Waves CLA-2AYou know what this is. This is the LA-2A from Teletronix emulated once again for the discerning ear.

The famous opto-compressor is accurately replicated in Waves’ software.

The best thing about it is a powerful compression curve while retaining a transparent sound. Slow attack gives you what you want, that punch.

But without much harshness. Let’s just say that if you’re into metal or EDM, you’d want something bigger. But if you’re going for acoustic or light rock, this is your Swiss army knife for compression.

Waves CLA-76

Waves CLA-76Part of the CLA Classic Compressors Bundle, Waves’ CLA 76 is based on Bill Putnam’s famous FET 1176 born in the 60s.

The plug-in emulates what the 1176 was known for; a rapid attack that is punchy and powerful. I know some guys who use these on their drums.

While I have not much use for the all-ratio buttons in, I do love the emulated preamp sound as well.

Waves H-Comp Hybrid Compressor

Waves H-Comp Hybrid CompressorI first used the H-Comp during a time I needed to finish a project but lacked some power from a modeled tube compressor.

The H-Comp from waves had an analog-style release while combining powerful clipping.

This is only achievable by introducing all the best ways you could use transformers, tubes and transistors all together to create a new but useful sound.

Waves Kramer PIE Compressor

Waves Kramer PIE CompressorEddie Kramer is not a producer I know too much personally although many of my friends say he’s quite one of the sharpest ears in history.

His PIE Compressor gave a great many British bands the harmonic sound they have. The compressor was based on a 60’s Pye compressor. It also has an auto-make up gain that is quite useful.

Again, if you like the sound of classic rock in London, this is for you. If not, something else then.

Waves JJP PuigChild Compressor

Waves JJP PuigChild CompressorJack Joseph Puig’s Fairchildren have given many records their original sound. The Fairchild 660 and 670 compressors used advanced compression techniques.

While not too advanced for today’s era, the device had a sound of its own. The modeled unit is in all ways a clone of the original in the digital age.

Waves Renaissance Compressor

Waves Renaissance CompressorThe price is a bit sharp (but probably by the time of this publishing you can still get it for over $49 during sale season), but Waves’ Renaissance Compressor is a one-stop shop for your mastering or buss compression needs.

The powerful brick-wall limiter is quite transparent you could definitely add about 6-dB to your output.

Waves Renaissance Vox

Waves Renaissance VoxThe Renaissance series is uniform and was made to make things easier for the engineer on-the-go. Lots of controls help create more for creativity.

But it also means spending more time looking to find new ways to find sound rather than optimize the time you use in the studio.

This simple compressor helps create dynamic control over your vocal tracks. The make-up gain, which kicks in as you go deeper, continues to keep the signal in front. A soft knee guarantees the vocals wouldn’t kick in too fast.

Waves SSL G-Master Buss Compressor

Waves SSL G-Master Buss CompressorThe SSL G-Master Buss Compressor is part of the SSL 4000 bundle. This is a digital model of the original Solid State Logic G-Master Buss Compressor.

As a buss compressor, you can expect it to stick plenty of your tracks together. I’ve tried it mostly on soft-sounding instruments and I’m amazed to hear no harmonic distortion whatsoever when it’s pushed against the compressor wall, just like the original.

Xfer OTT Multiband Compressor

Xfer OTT Multiband CompressorXfer Records doesn’t only produce their artists. They also create their own plug-ins just like Tokyo Down Records.

Calling it alternatively as Dimension Expander, the compressor’s interface is a simple-looking compressor with four knobs: Depth, Time, Input and Output Gain. However, these aren’t useful for most instruments such as acoustic guitars pianos and even drums.

But if you need to have a flimsy kick drum sound with a punch and solid bottom end, there’s this.

Final Words

I hope you’ve found the compressor that would suit you best for your genre. There are lots to choose from. Having an idea about how each one of them functions makes the difference between an amateur and professional recording.

While all compressors function alike, you just need one compressor that really works for you in plenty of situations. But it won’t address all situations, mind you. But at least it would help you address most of the problems you’ll be facing with audio engineering.

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