Vst Plugin Vocal Compressor

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Free Vst Compressor Vocals
Vst Plugins For Vocals Free
Best Free Vocal Compressor Plugin
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The human voice is one of the most dynamic musical instruments, and therefore presents unique challenges when recording and mixing. Here are the plugin compressors that I find myself using most frequently when I mix vocals.

VocalMint Compressor. Have you ever wondered how to build up a complete compression chain for any vocal track in only one move? With VocalMint Compressor you can do it. This plug-in consists of 3 different & cleverly pre-tuned compressors, including a special analog-like stage based on. In this article, we will highlight some dependable VST compressor plugins that could better. In your quest for the best compressor plugin, perhaps the.

1. The 1176/LA2A Combo

Plugin emulations of these two classic compressors are a dime a dozen. While I have my own preferences, most on the market are pretty great and are mostly faithful to their hardware counterparts, and at a fraction of the cost. Individually, they’re wonderful tools for mixing vocals, but when used in series (and in a specific way) they’re on a whole new level (pun intended).

Mix Tip:

Start with the 1176, and set it so that only the loudest passages of the vocal performance are being compressed. A medium-to-fast attack/release should do the trick, and tweak the input/ratio so you see the desired amount of Gain Reduction. Next, insert an instance of the LA2A after the 1176, and set the Peak Reduction knob so that you’re getting a couple of dB of compression at any given moment.

The idea is that the faster or “grabbier” 1176 handles and tames the loudest peaks so that the LA2A is never pushed too hard and can focus on general, consistent compression duties. The resulting sound is smooth, warm and natural. If you’ve never done this — try it now. If you’re more of a visual learner, below is a video of the technique being applied.

Compression Basics: 1176 into LA-2A on Vocals + CL1-B on Keyboards

2. FabFilter Pro-C 2

FabFilter has a different approach than most plugin companies. While most are creating tools that faithfully mimic the sonics and controls of tried-and-true hardware units, FabFilter has always been more interested in developing state-of-the-art plugins, complete with highly scientific visual interfaces and endlessly tweakable parameters.

For surgical work, which I find myself doing often when mixing vocals, they’re indispensable tools. If you’re interested in learning what compression actually does, the Pro-C 2 is a fantastic learning tool. The eight distinct compression “styles” built into the Pro- C 2 (including one especially for vocals) really place it head-and-shoulders above the competition when it comes to versatility.

Mix Tip:

In Pro Tools, I route all of my audio tracks through one of several sub-aux tracks. Generally, these auxes consist of Drums, other instruments, vocals and effects. I insert the Pro- C 2 on the instrument buss and using the vocal signal to trigger sidechain compression, subtly duck everything around the vocals. I’m not talking intense, EDM-style pumping, I’m talking one to two dB of gain reduction at most. This technique helps establish a defined space for the vocals, as instruments like guitars and synthesizers sometimes occupy the same frequency range as singers. I also use the kick and snare to trigger compression if they need to be a bit more prominent.

Introduction to FabFilter Pro-C 2 compressor

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3. UAD Distressor

The Distressor is one of the most flexible hardware compressors, offering a lot of dynamic and tonal control over whatever you run through it. It’s one of those units that can be used transparently, but has a very distinct sound when it’s pushed.

I commonly apply well over 10 dB of Gain Reduction on vocals with this thing, and it still sounds awesome. Very few compressors can handle this kind of abuse while still sounding natural. The UAD version meticulously emulates all of the features of this wonderful unit, and in addition, incorporates the all-important Dry/Wet blend knob.

UAD Empirical Labs EL8 Distressor on Drums, Bass, Vocals & More

Mix Tip:

Use the “band emphasis function” of the detector for taming harshness. What this does is make the unit more sensitive to nasty, mid-range frequencies. For singers that have a build-up in the mids, this feature really takes the edge off.

4. Softube/UAD Tube-Tech CL 1B

Another sought-after hardware unit that has been faithfully reproduced, available as a Softube Native plugin, and also for those of us that have UAD Hardware. When I want to achieve a smooth, warm sound, quickly, I reach for the CL 1B. If I’m in a pinch and don’t feel like going through the 1176/LA-2A gain-staging process, this is my go-to.

Mix Tip:

The Softube Native version has a sidechain option, so I use it similarly to the FabFilter Pro-C 2 method mentioned earlier. The CL 1B is not as precise — but is a great option when you’d like to add a bit of color to your signal.

UAD Tube-Tech CL 1B Compressor Plug-In by Softube Trailer

5. Waves V-Comp

Modeled after a vintage Neve 2254 Unit, but updated with some more modern features, I find myself using the V-Comp for pretty particular applications. It doesn’t work on every singer, but when it does work, it’s a special sound. It’s not as precise and variable timing-wise as the other compressors here, but sometimes it’s just what a vocal needs. The De-esser makes it even more vocal-friendly.

Mix Tip:

The V-Comp is great for achieving an upfront sound. If you want your vocal to pop and sit closer to the listener than other elements, the V-Comp is my go-to. That said, it takes some tweaking to achieve what you want, but when you hit the sweet-spot with the V-Comp, you’ll know.

Eddie Kramer on Modeled Plugins and Waves V-Series

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Applications

Mastering compressor
Instrumental track compressor
Vocal track compressor
Side-chain compressor
Stereo, mid-side, 5.1 surround compressor
Transparent compressor
Smooth harmonic enhancer

Deft Compressor is an audio signal compressor AAX, AudioUnit and VST plugin for professional sound and music production applications. The characteristic feature of this compressor is its ability to produce “slim” and “slick” sounding compression, with intelligibility enhancement effect. Such result is achieved by compressor’s timing function that closely resembles the S-curve (sigmoid curve) on both attack and release stages. S-curve timing function also helps compressor to sound “warm” and “clean” at most settings.

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While at high attack settings Deft Compressor can be used to emphasize audio transients, it can also be used to “smash” audio signal if you use attack settings as low as 0.01 millisecond. Even though the S-curve is the marked feature of Deft Compressor, you can smoothly change it to a steeper L-shape by adjusting the “Punch” parameter.

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Deft Compressor also features a so called “vintage” compression mode which produces compression sound reminiscent of analog tube compressors: it produces a warm, gently saturated sound with the ability to overdrive the output signal. Beside that, you may switch between the “feed-forward” and “feedback” compression modes.

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Deft Compressor is perfectly usable for compressing vocals, drums, guitars and other instruments, both technically and creatively. Beside that, it can be used to compress mix groups and full mixes.