In honor of the New Year, we’re breaking down 24 of the best compressor plugins ever. Compression is one of the most widely used tools by audio engineers for various media. Within the context of music production, compression is used for several purposes, including controlling dynamics, adding harmonic content to material, as well as making an entire mix or master sound more cohesive.
Historically, hardware compressors (take our test) have cost thousands of dollars and required regular maintenance. Luckily for us, digital technology has allowed plug-in manufacturers to create software emulations of classic compression units, as well as modern tools with features not found on vintage hardware. Below is a roundup of 24 of my favorite compression plug-ins of all-time (so far), as well as how I use them when producing, mixing, and mastering music.
1. The Teletronix LA-2A Leveler Collection
Universal Audio delivers three highly sought-after iterations of the iconic Teletronix processor. Emulating the distinctive qualities of the LA-2A Silver, LA-2A Gray, and the Original LA-2 models, this collection encapsulates the nuanced variations in time constants, compression knee, headroom, distortion, program and frequency dependence, and more.
LA-2A Silver & Gray:
The LA-2A Silver, characterized by its brushed aluminum panel and original T4B gain reduction module, represents the late-1960s version crafted by the renowned Bill Putnam. This “Silver” incarnation is among the most versatile among the three plug-ins, offering a fast time constant that renders it suitable for an extensive range of program material. Particularly adept at handling transient-rich sources like drums and percussion, it captures the essence of its vintage hardware counterpart. In contrast, the mid-1960s “Gray” version, conceived by Jim Lawrence, maintains a more average time constant, delivering a spectrum of “medium-speed” compression suitable for various musical contexts.
The Original LA-2:
The Original LA-2, an exceptionally rare unit predating the LA-2A by several years, hails from the early 1960s. Featuring the slowest response and a distinctive “mellowed” sound attributed to 50 years of luminescent panel aging inside the T4 module, this variant offers a warm and pleasing character. Ideally suited for legato performances and vocal sources, the Original LA-2 imparts a transparency and subtle richness that distinguishes it from any other compressor. Its rarity and vintage charm make it a prized addition to the LA-2A Leveler Collection, contributing an unparalleled sonic signature to the world of audio processing.
How I Use Them: I place an LA-2A after an 1176-style compressor (more on that soon), with the 1176 set to catch the highest peaks, making the LA-2A even more transparent and silky. Serial compression is a game-changer and can help you avoid the pumping and other artifacts that come along with over-compression.
2. FabFilter Pro-C 2
For a hyper-flexible, clean-sounding compressor not based on classic hardware units, the FabFilter Pro-C 2 stands out. It offers five compression styles, including Vocal, Mastering, Bus, Punch, and Pumping. Each style caters to specific needs, such as bringing vocals to the forefront, maintaining transparency for mastering, providing subtle glue for combined sources like drums, offering traditional analog-like compression, and introducing over-the-top pumping artifacts for genres like EDM.
How I Use It: Utilize the M/S mode to fine-tune dynamics in subgroups and the stereo bus, allowing separate adjustments for the middle and side components of the mix.
3. Soundtoys Devil-Loc Deluxe
An emulation of the Shure Level-Loc from the 1960s, the Soundtoys Devil-Loc Deluxe combines vintage vibes with modern twists. With controls like crush (compression level), crunch (saturation), slow or fast release settings, darkness (tone-shaping), and a mix knob, this compressor offers a wide range of creative possibilities.
The Shure Level-Loc served as inspiration for the demonic Soundtoys compressor.
How I Use It: Want subtle? Look elsewhere. Apply Devil-Loc to tracks of your choosing, automate parameters for dynamic changes, and experiment with extreme settings on bass, vocals, subgroups, and (probably) not the master bus…
Note: In these examples, Version A is with no effect, Version B is with a moderate amount of compression added, and Version C is quite frankly a disgusting amount of saturation and compression.
4. UAD 1176 Classic Limiter Collection
The UAD 1176 Classic Limiter Collection, designed by Bill Putnam of Universal Audio, is renowned for its character and aggression. The plug-in offers three revisions of the 1176, each with unique sonic characteristics. Revision A, known as the “Bluestripe,” is revered for its distortion characteristics and ability to aggressively enhance drum tracks. Revision E, or LN (low noise), provides a more transparent gain reduction solution, while the AE (Anniversary Edition) features lower compression ratios, suitable for subtle gain reduction tasks.
How I Use It: “All Buttons In” otherwise known as “Nuke” can be accomplished by holding down shift and clicking on the ratio buttons. Try it for an explosive compression sound. Great on drum rooms or vocals that need a highly aggressive quality.
5. One of the many SSL Bus Compressor Emulations:
The SSL Bus Compressor, known for its punchy and energetic sound, is available in various plug-in versions. Offered by companies like SSL, Waves, IK Multimedia, Slate Digital, Universal Audio, Cytomic, Native Instruments, and more, these emulations provide superb sound quality and contribute to a cohesive mix.
How I Use It: For the classic SSL “glue”, begin with conservative settings, such as a slow attack, fast release, 2:1 ratio, and minimal gain reduction, adjusting as needed for a polished result.
6. iZotope Neutron 4 Compressor
The iZotope Neutron 4 Compressor takes dynamic control to the next level with surgical precision and the addition of a dynamic “Punch Mode” for added impact. Offering flexibility with three distinct compression modes—Punch, Modern, and Vintage—it allows users to shape microdynamics with ease.
How I Use It: Dive into the Punch Mode for a nuanced approach to enhancing impact. Experiment with different modes to discover the perfect dynamic character for your tracks.
7. Tone Projects Unisum Mastering Compressor
Tone Projects is somewhat new on the scene, currently with 5 products available. Quality over quantity though, as each of their offerings are spectacular. Unisum is their mastering compressor, and I’ve found it useful for far more than that particular application. My favorite
features include a high pass side chain to control how the compression affects low-end, wideband compression with multi-band control which allows for very precise compression, tailored perfectly to the program material, as well as the HYGGE option, which adds mastering grade transformer and tube character.
How I Use It: While Unisum shines during mastering, I’ve been loving it on drum buss, other subgroups, and even vocals when mixing.
The Unisum Mastering Compressor has pretty much everything you’d want and need in a mastering compressor.
8. Brainworx/Plugin Alliance Shadow Hills Mastering Compressor Class A
The Brainworx/Plugin Alliance Shadow Hills Mastering Compressor Class A is an emulation of the 2012 Class A version. With both discrete and optical compressor sections, Lundahl input transformers, and selectable output transformer coloration, this compressor imparts a smooth, punchy sound with depth and clarity. It’s two compressors in one, so the learning curve can be a tad steep, but the results speak for themselves.
How I Use It: For mastering, start with conservative settings such as a slow attack, moderately fast release, and 1-2 dB of gain reduction for optimal results. Additionally, the Nickle, Iron, and Steel settings can be used to add sonic coloration to masters.
9. Goodhertz Vulf Compressor
All of Goodhertz’s stuff is slept on. I was thrilled to see “Lossy” , a recent collaboration between them and Chase Bliss, one of my favorite effects pedal companies. The Goodhertz Vulf Compressor, inspired by the Boss SP-303 Dr. Sample sampler’s “vinyl sim” compression, adds retro artifacts with controls for wow, lo-fi, in/out, comp, and dry/wet. Expressive applications can transform tracks and samples creatively.
How I Use It: Explore advanced controls for compression attack, release, stereo link, wow & flutter mix, phase speed, as well as lo-fi noise gain, crunch, and type for further tweakability.
Behold, the simple and elegant GUI of Vulf, one of the many excellent processors from Goodhertz
10. Brainworx/plug-in Alliance Purple Audio MC 77 Limiter
Modeled after the legendary 1176 compressor, the Brainworx Purple Audio MC 77 features added flexibility, including M/S capabilities, a high-pass sidechain, stereo width control, and a dry/wet blend knob. This versatile limiter is known for its quick transient response and colorful sonic character.
How I Use It: Any 1176-style compression is going to smack on drums, so definitely try this on kicks, snares, and rooms. Similar to my advice earlier, try the MC 77 on vocals before an LA2A to control louder passages, allowing the smoother LA2A to work transparently.
The only Grimace-colored compressor I’ve ever used is also one of my favorites
11. Softube Tube-Tech CL 1B
Based on the award-winning optical compressor from Lydcraft, the Softube Tube-Tech CL 1B offers a silky smooth and mellow alternative. With straightforward controls for threshold, attack, release, and ratio, this compressor is known for its transparent and forgiving compression sound.
How I Use It: Ideal for lead vocals, the CL 1B feels like it’s manually riding a fader, smoothly reducing louder passages and bringing up quieter parts without pumping artifacts.
12. Brainworx bx_Townhouse Buss Compressor
Inspired by the custom-built compressor at Townhouse Studios in London, the Brainworx bx_Townhouse Buss Compressor adds liveliness and energy to rock mixes. Equipped with a mix blend knob, it enhances cohesion and excitement, particularly when applied subtly.
How I Use It: Apply the Townhouse compressor subtly with settings like a 10 or 30 millisecond attack time and 1-3 dB of compression for a gentle but noticeable boost on drums or even mix bus.
The weathered GUI of the bx_Townhouse Buss Compressor. This plugin has seen some stuff.
13. Tone Empire Loc-Ness v2:
The Tone Empire Loc-Ness v2 pays homage to the Shure Level-Loc but goes beyond, offering filtering and saturation features. With controls like “crust” (saturation), “smash” (limiting), and pre and post-filter sections, it serves as a powerful transient and tone-shaping tool.
How I Use It: Experiment with Loc-Ness on various tracks, including piano, strings, guitars, and subgroup tracks, for added grit and character.
There’s a CRUST knob. Need I say more?
14. Maag Audio Magnum-K Compressor
Partnering with Brainworx, Maag Audio created an emulation of the single-channel Magnum-K Compressor with added features. With controls for range, ratio, threshold, attack, release, and a parallel EQ section, it provides subtle intensity for vocals, punch for drums, and overall stereo bus enhancement.
How I Use It: Utilize Maag’s AIR BAND within the parallel EQ section to add a silky smooth top end to individual elements or the entire mix.
15. Universal Audio Empirical Labs Distressor
The Universal Audio Empirical Labs Distressor, created in collaboration with Dave Derr of Empirical Labs, emulates the legendary EL8 Distressor. Known for its lightning-fast attack, aggressive transient shaping, and harmonic characteristics, the Distressor is versatile and widely used in various applications.
How I Use It: Experiment with the Distressor on drum recordings for transient shaping, and consider using it in parallel on lead vocals for a powerful, upfront, and exciting sound.
16. SPL Iron
Based on the hardware unit released in 2015, the SPL Iron is a variable-bias tube compressor (vari-mu design). Operating with a unique iron transformer and rectifier circuit options, it offers a distinctive compression curve and character.
How I Use It: While excelling during mastering, the SPL Iron is versatile for drum and instrument busses, providing powerful and upfront results.
17. TDR Kotelnikov (FREE!)
Firstly, this thing is free and can hang with some of the more costly compressors on this list, so go grab it right now. Kotelnikov has all the controls one would need on a compressor, including a flexible sidechain filter, stereo sensitivity knob, a Delta preview mode that previews the difference between compressed and original signal, and more.
How I Use It: Kotelnikov is a transparent and clean compressor. If I need mojo, I’ll look elsewhere. For clear, uncolored punch and power though, Kotelnikov is hard to beat, especially at its price point.
18. Klevgrand Korvpressor
I appreciate any plug-in company with a desire to make something other than an emulation of classic compressors, and Klevgrand has done just that here with the Korvpressor. The features are somewhat minimal, but this plug-in is sneakily versatile with a 3-band EQ, lookahead option, and maximize feature.
How I Use It:
The user interface is fascinating and does an excellent job of showing exactly what compression can do to a signal. To be honest, what you can learn from the GUI makes the Korvpressor worth the price of admission, not to mention the stellar sound quality.
19. Unfiltered Audio Zip
It’s impossible to describe what zip can do in comparison to most other compressors on this list. This is a plug-in that requires hours of exploration to be truly understood. While zip sports the typical controls found on a compressor, and can be used in a more traditional manner.
Zip offers a versatile range of creative possibilities with its four distinct envelope styles—Classic, Goopy, Quick, and Extreme—allowing you to tailor attack and release curves according to your specific requirements. Adding to its creative toolkit, Zip features Unfiltered Audio’s flagship automatable modulation system. With eight internal modulators and the ability to patch to an external ROLI Lightpad, Zip allows you to use up to six modulators simultaneously on most controls.
To put the finishing touch on your material, Zip includes a Color control, offering warm saturation, bright phase-modulated distortion, bit-crushing, or any of four 2-pole filters at the plug-in’s output.
How I Use It: Map any (or many) of Zip’s controls to physical knobs on your MIDI keyboard or similar control surface and fiddle away for hours. This thing can go far beyond simple dynamics control, try to realize its full potential.
20. Black Rooster Audio 436-C
If I’m being honest, there are plenty of 1176, LA2A, Fairchild, and other similarly-lauded Compressor plug-in emulations out there. So seeing that Black Rooster Audio, one of my favorite under-the-radar companies, took a shot at the lesser appreciated Altec 436C was a breath of fresh air. Vari-mu in nature, this lovely green fellow is a standout on bass, smooth vocals, and other legato-esque elements.
How I Use It: the plug-in 436-C goes beyond the capabilities of the original unit offering additional side chain filters, a dual mono/stereo link, limit mode, and SC listen mode. Take advantage of these exciting features for modern flexibility on top of vintage sound.
21. Native Instruments Vintage Compressors
This suite of 3 classic compressor emulations covers a lot of sonic territory, with some modern features added for more flexibility than their hardware counterparts:
VC 76: Modeled after the 1176, a robust compressor known for its fast attack. It delivers excellent presence, punchiness, and a clear high-end.
VC 2A: Emulating the LA2A, this smooth compressor offers a silky, natural sound, making it an excellent choice for vocals, bass, pads, and guitar.
VC 160: Inspired by the dbx 160, the classic compressor is designed to enhance attack and provide a subtle drive. One of my favorites on kick, snare drum, or bass.
How I Use It: Each of the Vintage Compressors is equipped with an additional sidechain input. This crucial addition offers more than just the typical ducking/pumping sound, enabling a diverse range of creative compression techniques. Additionally, they each feature a wet/dry control for implementing parallel compression.
22. Overloud Comp670
Overloud’s Comp670 plug-in faithfully reproduces the renowned Fairchild 670 hardware tube compressor/limiter. Through meticulous sampling, it faithfully captures the distinct warmth of the original, enriched by its complement of 20 tubes, input/output/inter-stage transformers, and vari-mu circuitry that dynamically adjusts compression ratio based on signal level. Expanding on the original hardware’s capabilities, the Comp670 plug-in seamlessly combines digital flexibility with the classic, robust analog sonic character. The sampled units from London, Los Angeles, and Milan each contribute a subtle tonal personality, switchable via the Studio switch.
How I Use It: Features not found on an actual Fairchild include a sidechain highpass filter for controlling sensitivity to low frequencies, particularly beneficial in managing the pumping effect. With a Dry/Wet dial, the Comp670 facilitates parallel compression—enhancing track impact while preserving any transients.
Running entire mixes through compressors for glue, punch, and character has become commonplace. Slate Digital has meticulously crafted 3 unique dynamics processors that help impart punch, clarity, and warmth onto program material, while also increasing perceived loudness without compromising the integrity of the mix.
Slate and designer Fabrice Gabriel examined the behaviors of SSL, Focusrite, and Manley/Fairchild bus compressors when designing the FG-Grey, FG-Red, and FG-Mu plug-ins, respectively. The result is an undeniably impressive collection of software for anyone hoping to give their mixes some additional size and impact.
How I Use It: These are tonally colorful units, so don’t be afraid to dial back the dry/wet blend knob if you’re wanting more transparent results.
24. Your Stock DAW Compressor
Despite the availability of third-party plug-ins, the stock DAW compressor is a capable tool for understanding compression basics. Most DAWs, including Logic, offer emulations of VCA, FET, Opto, and Digital compressors, providing flexibility for various applications. The Ableton Live compressor is especially useful, don’t let the simplistic user interface fool you.
How I Use Them: Before investing in third-party plug-ins, familiarize yourself with compression concepts using your stock DAW compressor. Logic, for instance, offers versatile dynamics processing capabilities. While many of the aforementioned plug-ins have a vibe and versatility to them that isn’t necessarily replicated by stock plug-ins, it’s more important to know how to use processes like compression, equalization, etc. than it is to own the latest software.
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