Even though a relatively simple instrument, the bass certainly has a major part to play in the feel and vibe of your mix.

CLA-76 Compressor / Limiter Free Download. Download FXpansion 2.1.2.10 VST Free DOWNLOAD LINK AT THE END OF THE PAGE Make your own unique drums and beats. Cla 2a Plugin Free Download DOWNLOAD 3.32 mb: Optron 3A (freeware) Optron 3A is a VST compressor plugin featuring an opto-electric design similar to that found in hardware devices like LA-2A or LA-3A. Its main aim is to maintain a consistent volume level without loud peaks. Like the Teletronix LA-2A that inspired its design, the Waves Audio CLA-3A is a transparent-yet-punchy compressor that sounds good on most everything, especially bass and drums. If you want a reasonably-priced compressor that can make most any track push its way to the front of a mix, the CLA-3A could be just the thing. By Audio Damage. Audio Damage’s Rough Rider is a modern compressor with a. Download the Best Free Compressor Audio Plugins. Just click and download. Mixing lead vocal tracks can be a challenge as we often put ourselves under immense pressure to get them balanced tastefully within a mix. Mixing a lead voca.

That’s why many engineers and producers like a dedicated compressor that will translate the groove and punch of a bassline in a mix well…

… so in this guide, we’ll take a look at a few choises, and see which of them is the best compressor plugin for bass.

Quick answer: Softube Tube-Tech CL-1B Compressor is the top choice among engineers. The punch and clarity that it imparts is simply magic to the ears…

Otherwise, Waves Audio C4 offers great value for the money…

While Waves Audio Bass Rider is the cheapest bass dedicated compressor plugin to get.

Let’s take a closer look 🙂

Table of Contents

• Bass Compressor Plugin Buying Guide

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Bass Compressor Buying Guide

What is a Compressor?

A compressor is a hardware or software device that applies compresses to the dynamic range of an audio signal.

They do this by reducing the higher volume sections of the audio and increasing the low volume section. The process is typically done automatically via threshold, ratio, and makeup gain controls.

To understand more about how a compressor works, take a look at our post on audio compressors.

Features to Look for in a Bass Compressor

The most important features of a compressor are their controls.

Compressors typically come with threshold and ratio controls. With these you can set the level where the compression begins to take effect, and the rate at which the compressor ceases to affect the signal.

These controls are pretty much essential for most compression applications, particularly for bass, where control over the punchiness of the sound is crucial.

Control over the attack is also an important feature for bass compressors. In most cases, you will want a small portion of the initial transient to pass through unscathed, in order to provide definition to your bass part. Without an attack control, you pretty much have to make do with how much of the initial transient the compressor circuit allows through.

Ideally, you will also want control over the release parameter. This has a considerable effect over how the individual note fades out, which is crucial for tempo-sensitive musical applications. By being able to control the rate at which the note fades out, you will be better able to shape your bass track in a more rhythmically logical manner.

You can read more about how to properly use a compressor with bass.

Choosing a Compressor Plugin for Bass

Besides knowing what controls you need in a compressor, there’s another good thing to take into consideration when choosing a good bass compressor: sound.

Although transparency is often a desirable quality to have in a compressor, this isn’t necessarily the most essential characteristic in a bass compressor.

In rock or hip-hop music, bass and other tracks are often processed quite aggressively in order to give them sufficient ‘vibe’ and ‘attitude.’

For these purposes, you might be better served by a compressor that imparts a bit of coloration or harmonic distortion to the sound.

With that said let’s take at a few bass compressors for mixing.

Best Compressor Plugin for Bass – VST, AU, and AAX

Softube Tube-Tech CL-1B Compressor

Among compressor plug-ins, the Softube Tube-Tech CL-1B Compressor stands in a class all its own.

It’s modeled after the legendary hardware compressor of the same name, the software version does a great job of making bass tracks–or most any other program material for that matter–stand out in the mix. And it does at the fraction of the cost of the original opto hardware model.

It’s warm, punchy, and solid, the sound that the CL-1B imparts is made even better by the addition of features such as sidechain low-cut filters and parallel blend control.

Specs and useful features

• Upgraded version of popular CL-1B plug-in
• Improved sound via Softube’s latest signal processing technology
• New features such as sidechain low-cut filters and parallel blend control
• High-resolution graphics
• Bundled with legacy CL-1B for backward compatibility

User impressions

The CL-1B seems to appeal to users that appreciate warm, natural compression as opposed to ultra-squashed sonic treatment. Although it does offer plenty of squishiness when pushed to the extremes, most users favor the warm and transparent quality that it imparts on bass, drums, and vocal tracks. The CL-1B is especially effective at preserving the punch and clarity of bass tracks, even as it adds its own distinctive character.

Pretty much a compressor plug-in that can handle most any task, the CL-1B nevertheless garnered some criticism for its small GUI, the odd behavior of the controls when adjusted via the mouse wheel, and the absence of dry/wet and bypass controls.

Bottom-line

The Softube Tube-Tech CL-1B Compressor is one of those plug-ins that just seem to sound great no matter how you set them. Especially effective at bass, it can also easily handle pretty much any compression-related task in the studio.

Of course, versatility and great sound come at a premium, and the CL-1B has a price tag to match. Nevertheless, if you are intent on getting an almost-perfect replication of the hardware Tube-Tech CL-1B compressor, the CL-1B is the best way to get it.

Demonstration

Waves Audio C4

The Waves Audio C4 is a fully-featured multiband dynamics processor that, based on a lot of users, works amazingly well on bass tracks, and could easily handle 90% of other compression needs.

It has control over four parametric bands, along with the ability to expand up and expand down, limit, and compress each of them.

The plug-in also comes with both dynamic and standard EQs, so you’d have the ability to do some precision sculpting with your bass sound.

Specs and useful features

• Multiband compressor plug-in
• Control over four parametric bands
• Precise sculpting of frequency and dynamic response
• Control over different frequencies of the sound
• Dynamic mix shaping via frequency-based compression and expansion
• ARC auto release control

User impressions

Waves Audio C4 is another compressor plug-in that can handle most any duty in a studio setting. Most users apply it quite liberally to bass and drum tracks, although many have used it to great effect on the master buss as well. For devoted users of the C4, its ability to retain punch and bottom end are among its biggest strengths. The plug-in is especially favored for its ability to make a bass track sit better in a master mix without affecting any other track.

Any complaints? Sure. A common one is about the noise that it can introduce in certain settings. However, this is often dealt with by careful adjustment of the four parametric bands.

Bottom-line

The Waves Audio C4 is quite a capable unit that can do more than compress bass tracks. While some plug-ins might be simpler to use for bass and low end instruments, there is no denying the benefits that it can impart to any production. Best free drum loop vst.

Demonstration

Waves Audio Bass Rider

Simplicity is key to the appeal of the Waves Bass Rider, which manages to preserve the original character of bass like no other compressor plug-in can.

With its ability to rides bass levels automatically, the Bass Rider is perfectly suited for those times when you just need your bass to poke out more, but you don’t want to kill its dynamics with a compressor.

Specs and useful features

• Automatic level riding
• Optimized for bass
• Retains the bass’ natural character
• Dedicated studio and live components

User impressions

The Bass Rider seems to appeal mainly to “set-and-forget” users, but even those with more fully-featured compressors can’t help but be swayed by its undeniable simplicity and great sound. The plug-in is especially favored by users that want to have their bass be more present in a mix without necessarily affecting its natural dynamic range.

Of course, some users do wish that they had more control over the character of the sound, but using the Bass Rider in conjunction with another compressor plug-in usually does the trick.

Bottom-line

The Bass Rider is a fairly limited plug-in that surprisingly works well for a varied array of applications. If you have a frequent need to have your bass more forward in the mix but you don’t necessarily want a compressor, the Bass Rider might be all the help you’re looking for.

Demonstration

Waves Audio CLA-3A

The Waves Audio CLA-3A has quite a formidable heritage, being based on the classic Teletronix LA-2A compressor from the 1970s. Like its predecessor, the CLA-3A promises to deliver the kind of character and subtle harmonic distortion that you’d expect from the vintage unit. Despite that, it can also be as transparent as you need it to be, which is good.

With its fast response and sidechain frequency filter, the CLA-3A could be just the perfect sonic sauce to spice up the bass tracks in your mix.

Specs and useful features

• Based on the classic Teletronix LA-2A solid-state hardware compressor
• Compressor and limiter modes
• Ideally suited to bass and electric guitar
• Sidechain frequency filter
• Zero latency

User impressions

A few words seem to sum up the user experiences of the Waves Audio CLA-3A: “simple”, “punchy”, and “in-your-face”. It seems to be an especially popular plug-in among bottom-end merchants, used to great effect in treating bass and even booming 808 kick drums. Many users in fact use it on drums as well as bass, citing its ability to beef up tracks without a lot of fuss and bother.

One thing that many users make note of is the inability to fine tune attack and release times. Although this might be an issue for some, the CLA-3A just sounds so good that most users don’t seem to mind.

Bottom-line

Like the Teletronix LA-2A that inspired its design, the Waves Audio CLA-3A is a transparent-yet-punchy compressor that sounds good on most everything, especially bass and drums. If you want a reasonably-priced compressor that can make most any track push its way to the front of a mix, the CLA-3A could be just the thing.

Demonstration

Waves Audio CLA-76

The legendary UREI 1176 serves as the inspiration for the Waves Audio CLA-76, which offers the distinctive limiting characteristics of its noted predecessor in a convenient plug-in form.

The attack can be set as short as 50 microseconds, providing all the punch you need to make your bass tracks stand out.

The Waves Audio CLA-76 also comes with a unique “ALL” control that lets you replicate the explosive character of the UREI 1176 with all its ratio buttons pushed in.

Specs and useful features

• Based on the UREI 1176 Class-A line level limiting amplifier from the 1960s
• Extremely fast attack
• Exclusive ALL control
• Zero latency
• Pre-amp distortion modeling

User impressions

The CLA -76 seems to attract users that appreciate the warmth and punchiness that analog tape effortlessly imparts to recordings. More than a few have mentioned the startling similarity between tracks processed by the CLA -76 and tracks flown in from 2-inch tape, citing the smooth and dynamic frequency response.

Interestingly enough, some users also appreciate the aggressive quality that the CLA -76 can impart. A versatile plug-in that can get as aggressive as you need–and yet that can be quite transparent as well–the CLA -76 seems to appeal to a wide variety of users.

Bottom-line

Fast attack and a colorful character…these are what the Waves Audio CLA-76 provides in spades. If you are able to catch it on sale, don’t even think: just go and grab it! If you are into vintage character and aggressive rock-style push and presence in your bass, the CLA -76 is a must-have.

Final thoughts – Which to Get?

For mixing applications, the best compressor plugin for bass in this lineup would have to be Softube Tube-Tech CL-1B Compressor. The punch and clarity that it imparts is simply magic to the ears, and it can provide enough squish for any but the most determined audio mangler or dancefloor groove merchant. The price might be enough to give some people reason to consider other options, but if warmth and punchiness are your sonic goals, this one definitely delivers in buckets.

That being said, the Waves Audio CLA-76 and the Waves Audio CLA-3A pose seriously stiff competition to the CL 1B. Modeled after two legendary pieces of hardware, the CLA-3A and the CLA -76 both provide enough character and attitude for even the most discriminating users. For much less cash than the CL-1B alone, you could easily afford to pick up both plug-ins and have all your compression needs covered.

Apart from the Softube CL 1B, which really does belong in its own price range, every other plug-in here provides exceptional value. But special mention must be made of the Waves Audio C4 which does way more than your average compressor plug-in. A multiband processor that wouldn’t be out of place in your master buss, the C4 wins out over all the rest as far as value is concerned.

Let’s get your vocals under control with the best vocal compressor plugin software.

As each compressor plugin software is different, and there are myriads out there to choose from, we’ll keep it simple, and take a look at 5 of best best choices out there…

All of which were researched and recommended by the best.

Quick answer: Softube Tube-Tech CL 1B is the favorite, but if you’re looking for something less costly, take a look at the FabFilter Pro-C2 as perhaps the most popular option out there.

However, picking off a couple isn’t good enough, compressors differ based on character and style.

So let’s take a closer look 🙂Vocodex vst free.

Find more great gear here:

EQ Plugins for Vocals, Top Waves Audio Plugins, Tape Emulation Plugins,Vocal Microphones

Vocal Compression Guide

What is a Compressor?

Compressors are a bit of a controversial plugin in some ways, as to many it is mystery how it works… and even more of a mystery as to what it can do for them.

This is especially true when it comes to vocal compression.

Safe Compressor Vst

But as simply put as possible, a compressor compresses dynamic range. So that means that above a set volume (threshold), the compressor will limit the amount of volume increase going out the back end (output) compared to what is coming in the front end (Input).

Given that basic function (compressing and audio signal’s dynamic range), you can imagine the vistas of creative potential open to producers. Imaginative engineers realized you could use them creatively to re-shape the transient shape of sounds. Presto! Compression algorithms became secret sauce.

Hence many fancy named compression techniques, such as of side-chaining, parallel compression, etc., are now used. But not just in a technical way, but as if the compressor was itself a musical instrument.

However, we are on the topic of vocal compressor plugins. So, keeping that in mind, there are a few features that every good compressor should have. Let’s find out.

Features to look for & How to choose

If you follow forum discussions, you will find a lot of opinions about the various types of processors out there. Each producer has their favorite because, given time and experience, one compressor can be somewhat like another.

All compressors will should have these:

• Threshold – which determines the level your audio signal must be before the compressor can reduce its volume.
• Ratio – determines the level of compression that will be applied to the audio signal once the loudness threshold is reached.
• Attack – how fast or slow the compressor will be activated to reduce loudness.
• Release – how fast or slow the compressor will be deactivated to return the audio signal to is original level.
• Knee – smooths out the ratio so that there isn’t a sudden change in dynamics.
• Make-Up Gain – used to “make-up” the amount of gain that has been lost from all that amplitude attenuation.
• Output – allows you to increase or decrease the sound coming out of the compressor to a desired level.

For a more detailed explanation of each, read thisreal funny exposition of audio compression in music production.

Beside these featured listed, a compressor may function slightly differently, or offer some additional features that make them useful for whatever purpose you want to use it for… in this case, mixing and recording vocals.

Character and Vanilla

There are “Character” units, and “Vanilla” units. Like the name suggests, a good character compressor will add some depth and personality to your vocals. A vanilla compressor will get the job done without you know it was even in the room, like a good butler.

Other than that, another thing to look for in a compressor is versatility. That and the ability to get the results you want reasonably quickly.

Sometimes those things will conflict a bit. That is why we choose a plugin which fits our needs the best.

Best Compressor VST Plugins for Vocals

Softube Tube-Tech CL-1B

Price & Demos @ Plugin Boutique

Softube is a great name in overdrive DSP and this FET emulation has many, many fans. This one is of an optical unit. A high-ticket opto unit that many love for its “musicality,” but may be out of some user’s budget.

Feature wise it’s a lot like the popular CLA-76 from Waves that we mention below, but the source unit has a unique behavior that made them a top choice. The optical method is prone to being softer and gentler to vocals, while still being able to lay down the law when necessary.

It is all about the secret DSP sauce of how nothing is really linear. Add 2db of Gain and suddenly your sound is different. Changing one knob is like changing five knobs on a “clean” compressor. Over time you can get a sense of what is going on. Until then…

You tend to start out wiggling the vaguely labelled knobs and suddenly something great appears in the murk. This is character processing at its best, and if the unit sounds good then you can’t beat it.

The only downside to nitpick at is that if you’re a control freak you can also find it frustrating, since you can’t so much “control” this unit but rather “guide” it like an air traffic controller guiding a Boeing 747 onto land.

That said, it’s good to give up some control, especially if you know there were some experts at the wheel behind this thing, and the results are often solid.

If this is the path for you then close your doors to the world and make this the only device you use for everything. Just like they did back in 1965. It is part of your “sound.”

Demonstration

Waves CLA-76

Price & Demos @ Waves Audio

Waves have been around for a very long time and for much of it as the top name in the game. Their plugins used to be really expensive. Nowadays if you catch them on sale they are cheap as chips. And general pretty good value for that.

The CLA-76 comes in two guises (blue & black) and both are emulations of versions of a classic 60’s Compressor/Limiter. People still pay big coin for hardware versions of these things for “modern” recordings.

Feature wise, these units don’t have a lot on offer. Input, Output, speed the Ratio Curve operates, and then a section of Ratio pre-sets. Sounds dull, I know, but in-practice they can be great.

CLA-76 has a pretty fast Attack, meaning there isn’t too much time between a loud transient arriving and the compression goblins leaping into action. Great for drums as you can really flatten them to add thickness, edge and size.

And for vocals? Depends on who you are. Some like the CLA-76 for vocals for that very same reason. Merciless attack times, the ability to really crunch those pop vocals. Others don’t. But some producers, like Chris Lord-Alge, swear by them for the “the sound.”

Another thing to watch out for is that these units add saturation which changes the “weight” of the sound with wee bits of distortion overtones (and some undertones too). This means the units respond very nicely to being hit hard.

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Demonstration

Softube FET Compressor

Price & Demos @ Plugin Boutique

More Softube, more emulation. Everyone loves a bit of bounty hunter scum. Or so it would seem with another 1176 emulation. This one looks more like a 70’s Hi Fi than the original though.

Price-wise, when it’s not on sale, it costs more than the Waves unit mentioned. So it’s a good idea to take a look to see if you’re lucky.

However, FET has more features. Softube added some more modern features (along with improving the flow of the knobs) so you can parallel process and alter what parts of the signal trigger the processing goblins. This is doable with some effort in your DAW with the CLA-76, but far easier in the FET.

Again, some people love it on vocals, as it can really rough them up add some punch where needed. Many think the parameter additions make this a better bet there. Just keep in mind that some have noticed that the FET can slide into distortion if you aren’t paying attention.

This is a character effect (processor to be accurate). So be aware that, while you can use it on everything, including vocals, you may find that you’d want to slap this bad boy onto different things in different places.

Demonstration

Softube Summit Audio TLA-100 Compressor

Price & Demos @ Plugin Boutique

Another minimalistic blast from the past. The Summit Audio units got popular in the 80’s, particularly for vocals.

The reason this style of unit works so well for vocals is that it tends to be kind. Besides the Tube-Tech, the other compressors so far have tended to be rough and rowdy (which has its charm) but the TLA-100 is smoother and less noticeable as it goes about its work.

“Smooth”, “controlled”, and “softening” are common adjectives applied to the TLA-100. Softube added a few extra features including a separate saturation section so you can control how tubular it all gets.

The Parallel options seems slightly unusual as that effect is normally used with more brutal compressors but we won’t complain that it is there.

This compressor isn’t a jack of all trades. But if you want a character unit to supplement your core compression, or you want to choose one unit to live with then this could be it. I may just suggest that it could see you struggle with less controlled singers like Rappers.

If you ever feel the need to lay down the law in your vocal mix, refer to the other units mentioned. But for singer-songwriter tracks, this is great.

Demonstration

FabFilter Pro-C2 Compressor

Price & Demos @ Plugin Boutique

This fellow is the real odd one out here. Not because it’s the best or the worst, but because it’s not a character unit. Pro-C2 is all about modern, practical, versatility, and clean.

This is the modern jack of all trades, cover every piece of ground, device that many of us bedroom boys love. Why buy and learn 78 devices when you can get one?

It is also simply the go-to plugin for all your compressing duties on every track, not just vocals. So it is well worth it.

You get a lot of modes targeted at most of the common things you will want to do with a compressor. For instance, its vocal mode helps you to bring vocals to the front of the mix. A nice little addition to a plugin.

Analog, Classic & Optical style modes are also on the list. But honestly, it is doubted that they can really compete with the dedicated units mentioned above. Think of it as leaning a bit that way.

Upside? This is the only unit here to offer control over the Knee of the compression critters. Boggling if you don’t get it but super useful if you do. Especially when it comes to vocal mixing.

Also, if you ever needed to learn how to use a compressor for mixing vocals, you’ll probably find about as many engineers on Youtube showing you how to mix vocals via the FabFilter Pro-C2 than any other one mentioned. You probably think of it as the ‘Fruity Loops’ of compressors.

Also, rather than being stuck in an old-hardware frame of mind the interface is visually informative and very adjustable to suit your task or preferences. You can even pop it full screen on an unreasonable large Retina display!

Demonstration

Waves Audio V-Comp

Price & Demos @ Waves Audio

Waves V-Comp rides on the vintage Neve’2254’s classic sound with its super-responsive dynamics processor.

It has all the typical compressor controls and its interface is intuitive and easy to use. The V-Comp also features a De-Esser switch which functions like a high-frequency side-chain to smoothen harsh high frequencies in the mix. This is a nifty feature that can be turned on and off with a single switch. Also included is a limiter that can be used independently.

While some user reviews do not seem convinced of the V-Comp’s emulation of the actual 2254 machine, many are satisfied with its silky smooth compression. V-Comp lends a unique ‘analog-ish’ color to the entire mix, which we believe to be a commendable feat in itself.

Its vintage-style squashing of the transients is also convincing. There is a bit of warmth in the processed signal which can be further shaped by the De-Esser and the limiter functions.

Needless to say, the V-Comp is a good option for those who want the most out of their buck, especially if you’re going for an easy-to-use plugin that fits most styles of sound.

Waves CLA-2A

Price & Demos @ Waves Audio

The CLA-2A is modeled after the legendary Teletronix LA-2A, a tube-based compressor from the 1960s. The Teletronix LA-2A is prized for its electro-luminescent optical attenuator. The Waves CLA-2A emulates this frequency-dependent action for smooth gain reduction.

Producers love the multi-stage release and the CLA-2A’s quick response, both of which add character to the mix. It seems that most producers use the CLA-2A for leveling purposes, particularly for bass sounds. But it has also proven itself as a competent vocal compressor as well.

Included when buying the CLA-2A are presets made by Grammy-winning mix engineer Chris-Lord-Alge, a side-chain frequency filter, and a limiter mode.

The CLA-2A does not have a lot of tricks, but its historic sound and simplicity makes up most of its charm. It has more than you would ever expect from a product of its price point.

Waves CLA-3A

Price & Demos @ Waves Audio

Based on the original 1969 solid-state compressor, the Waves CLA-3A boasts a transparent compression curve. This ensures a fast response from attack to release, a perfect tool for high-tempo music.

Moreover, it packs a subtle harmonic distortion for some added spice. This works best for bass, as it brings out a unique kink from the sound. Nonetheless, the CLA-3A infuses this edge to your vocals without ruining the signal.

Like the CLA-2A, it uses an optical attenuator for gain reduction. The algorithms behind the compression are program dependent. This means that it is hard to say how a particular setting would change the quality of the sound. This unwieldiness is expected out of any ‘vintage-style’ compressor and is what makes it fun to use.

The CLA-3A’s interface is fairly simple. It has a Peak Reduction knob for controlling the desired compression, and a Gain knob for adjusting the levels after compression.

Overall, the CLA-3A can be used for a wide variety of applications. But its magic is most potent on bass, vocals, and guitars.

Waves Renaissance Vox

Price & Demos @ Waves Audio

None other than Drake’s producer Noah “40” Shebib has praised this plugin as “one of the most important plugins ever made.” These high words of praise are only equaled by the Waves Renaissance Vox’s packed features.

What the R-Vox lacks in visual appeal, it makes up for in its ‘under the hood’ bag of tricks. It deploys an entire array of expansion, compression, and limiting gadgetry, most of which happens by way automation.

But despite the complex tech behind R-Vox’s processing chain, users are only given three controllable parameters, which are expander and compressor thresholds and output attenuation. Needless to say, producers who want more control over the attack and release times may find the Renaissance Vox too wild of a beast to tame.

Nevertheless, this plugin’s ‘plug-and-play’ philosophy helps producers focus on other mixing aspects by automating the gritty details. And it does this to excellent effect. An instance of R-Vox instantly puts your signal into the front and center of the mix. It adds weight to any signal, which can help for weak-sounding vocals to stand out.

Another added bonus is its relatively small CPU footprint. You can chuck in multiple instances of the plugin without putting a strain on your machine.

Final Thoughts

What to do?

The Tube-Tech CL 1B unit is the favorite by far. But being a high-ticket item, you may want to consider the other four units mentioned if you’re on a tighter budget.

Then, you can decide if you want to commit to a path, like owning one unit that you use for everything, or having a couple that fits diverging tastes. In the latter case you won’t have one unit that you have to “fight with” to submit to every path that comes across your DAW.

If you’re thinking a character unit, then it really comes down to what appeals to you mostly. Namely:

Waves CLA-76, Softube FET and Summit Audio TLA-100.

Waves CLA-76 and Softube FET may suit people who mix harder and louder (as most of us have to these days), and whose vocalists need more discipline. Submitting to the Summit Audio TLA-100 could be perfect for the folksier amongst us.

But if dollars are the deciding factor, then check if Waves is having one of their many sales right now go grab it!

But for the vanilla producer/engineer, the FabFilter Pro-C2 has so many possibilities. Not only in the “I can’t believe it’s not butter” processing, but in dramatic or effect processing that makes it hard to pass by.

If you want just one compressor and don’t mind the vanilla, FabFilter Pro-C2 is the one ring to rule them all.

The Tube-Tech CL1B, when powered up with the Collection Upgrade, proves itself to be a very competent product. While definitely among the most expensive in the list, its versatility and its added features make it worth every buck.

But one cannot also ignore the CLA-2A and CLA-3A, as these are also very powerful compressors. What makes them interesting are their unique vintage features. If you’re looking for something that would help you develop your personal sound, these two products might suit you the best.

Of course, one could never go wrong with the Renaissance Vox. While also learning more towards the pricier side, the simplicity and the sheer power of this plugin makes it an awesome choice for newbies and vets alike.

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On the other end of the spectrum is the FabFilter Pro-C2 which is as simple and vanilla as you can get. If you’re looking for a no-nonsense compressor that does its job, the FabFilter is an ax that will never fail you when you need it the most.