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Name any pro record – they probably used one of these compressors. The LA-3A is more tailored to vocals (in my opinion), and offers a slow, smooth character. If you’re wanting aggression and excitement, the 1176 has some of the fastest attack times in the world. Try using its “all buttons in” mode on rock singers. This effectively brings the vocal forward without actually turning it up louder. Even setting the low level up to just 2 or 3 adds a distinct amount of body to a vocal. Surprisingly enough, the stock Avid Lo-Fi plugin makes this list. Sometimes a vocal comes in too clean to really stand out in the right way.
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 🙂
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.
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.
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.
Free Vocal Harmony Vst Plugin
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.
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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.
Vocal Harmonizer Vst Plugin
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.
This will take about 20 minutes to set up, but if you're currently post-processing your audio in an editor after recording a screencast, this should save you some time overall :-)
Introduction
The filter chain we're going to build consists of four filters:
1. Noise Suppression
2. Gate
3. EQ
4. Compression
The Noise Suppression filter is built into OBS.
The Gate, EQ and Compressor effects used in this guide all come with the excellent, free ReaPlugs VST FX Suite, which you can download here:
http://www.reaper.fm/reaplugs/
Before you begin, open the recording properties for the input you're using, and adjust the input gain - in Windows, open this dialog by right-clicking on the speaker icon in the system tray, and select Recording Properties.
Double-click on the input device you're going to use, then click on the Levels tab for the device, from which you can adjust the input level.
Position the windows so they are both visible - so you can see the little input level meter in the first dialog while adjusting the level in the second.
Speak into the microphone loudly - the loudest you think you're going to speak while recording, and watch the input level. You'll want the input level to go almost to the top, but not quite - one or two bars under the maximum. Going too high will cause the signal to distort.
If you can't get the signal to go high enough, increase the Microphone Boost setting - but note that (depending on your hardware) this may introduce noise, so avoid setting this higher than necessary.
Note that, if you're on Windows 10, you may be using the standard Windows audio driver, which doesn't expose the Microphone Boost setting - watch this tutorial on how to fix that.
Add the 'Audio Input Source' or 'Video Capture Source' as needed, click the gear-button in the list of audio sources and select Filters to open the dialog.
We're ready to start setting up the filter chain!
I recommend using headphones to monitor the results while you're adding and adjusting each of the effects as we go along - once you think you have the right settings, do a quick recording, play it back on speakers, and adjust if needed.
To add each effect to the filter-chain, press the plus-button.
1. Noise Suppression
First, add the Noise Suppression effect, which is built into OBS.
This has only one setting for the Suppression Level, but getting this right is really important.
I needed around -20 dB of noise suppression to get a good clean signal, but as you may have noticed in the first screenshot, I'm using a Lavalier mic that needs a full 30 dB of Microphone Boost, so I have quite a bit of noise.
You'll want to use as little noise suppression as necessary - don't overdo it, or the speech will be muttered.
Definitely do a test-recording and play it back on speakers while adjusting this effect! If you're listening on headphones, you will likely be much more sensitive to noise than on speakers - you will likely find that, on speakers, you don't need as much noise suppression as you think you might on headphones.
Remember, we're going to add a Gate effect next, so don't try to fully remove the background noise - the Gate will remove any noise from pauses between speech, and the speech itself will naturally predominate much of the noise, so you're better off using a setting that lets a bit of noise through without muttering the speech.
2. Gate
To remove any background from pauses between speech, we use a Gate - in this case the ReaGate VST plug-in from the ReaPlugs package.
To add a VST effect, press the plus-button and select VST Plugin, then select the actual effect, reagate-standalone, from the drop-down:
Press Open Plug-in Interface to configure the plug-in:
I'm a man with a fairly low voice, so the first thing I do, is set the Highpass setting to around 80-90 Hz, to make sure the Gate doesn't overreact to my voice. If you're a woman, you may not need to increase this setting.
Next, I've increased the Release setting to around 200 msec - this is a personal preference, but I find that the Gate is more noticeable if it closes too fast. If a Gate effect is properly configured, the listener should not be able to notice that it's there - the Gate should be removing only the noise in pauses between speech, or in other words, it should only be removing things that the listener shouldn't be able to hear in the first place.
Now for the most important setting - the actual Gate level: the level below which the Gate will silence the periods between speech. Use the fader on the left-hand side of the interface.
While adjusting this setting, watch the level indicators: the moving bars next to the fader - speak at a natural level, and notice where they are between periods of silence and speech. You'll want the fader positioned somewhere above the level of background noise, but never as high as near the level of speech.
One way to figure out the Gate level, is to purse your lips and blow into the air - never directly at the microphone, but away from it, and watch the level indicators to figure out the level at which the Gate will remove any breath-level backgound noise.
Fine-tuning this parameter is most likely easier while listening on headphones, but a test-recording and speaker-test is always in order. Make sure you test with words like 'three' and 'free', to make sure that the gate opens up for the 'th' and 'f' sounds after periods of silence - if it's truncating these words noticeably, lower the gate-level very slightly and test again.
3. EQ
Next, we use an Equalizer (EQ) to make the consonants in words stand out, which helps make speech more intelligible.
Add the ReaEQ VST plug-in, which is listed as reaeq-standalone in the Plug-in drop-down.
Note that I've removed the unused bands - while they're set at 0 dB by default, removing them isn't really important, I just prefer not to have any unused bands displayed.
I've selected the High Shelf filter-type from the Type drop-down.
I use a Frequency setting of around 2000-2500 Hz, a fairly wide Bandwidth of around 2-3 octaves, and Gain setting of 6-10 dB - a lot of this is personal preference, but some people have sharper or softer consonants than others, and the type of microphone, use of pop-filter (etc.) also affects these settings.
I recommend you listen on headphones and figure out the best frequency setting for your consonants - then do test-recordings and play back on speakers to find the right gain setting.
Optionally, if your voice sounds too 'boomy', you can cut the bass, by adding a second band: use a High Pass filter with a Frequency setting of around 60 Hz or so - again, whether you need this depends on a lot of factors, at least your voice and the microphone type and position, so definitely do speaker-tests if you decide you need a high-pass filter.
Finally, note that I've got the Gain fader (on the right-hand side) set to an extra boost of 6 dB - the final stage, the Compressor, doesn't have an input gain setting, so I'm letting the EQ effect double as a gain-stage to boost the signal going into the Compressor. If your signal is loud enough, don't do this right away - you can come back and do it while adjusting the Compressor, if you need to.
4. Compression
This stage of the filter-chain helps make sure your speech comes out at the same level throughout your presentation - it does this by monitoring the level at which you're speaking, and making small adjustments continuously.
It's natural for us to speak at somewhat lower or higher levels depending on the subject - if you're particularly excited about one part of the presentation, you may speak louder without knowing it, and the Compressor can help level things out, so that your entire presentation is loud and clear, even to listeners using a low volume setting.
Add the ReaComp VST effect to the filter chain - it appears as reacomp-standalone in the plug-in drop-down. (Don't mistake this for reacompx-standalone, which is a a multi-band compressor - a very different effect.)
The Attack and Release settings require a longer explanation, but 5 msec and 30 msec is a good starting point for these. If you'd like to learn more about compression in general, this will get you started, though it may be more than you need/want to know about compression just for now.
I use a Ratio setting of 10:1, which is quite high - I find this gives me the sound that I want, without having to add a second stage of compression with infinite ratio, also known as a Limiter, something radio stations tend to use.
I'm trying to get a 'natural' sound - if you want a more 'radio'-like sound, you can experiment with two stages of compression on your own - e.g. a first stage with a ratio of 3:1, and a second stage of 100:1. I recommend you proceed with a single stage of compression for now, as it's much harder to get two stages of compression working exactly right together.
Now it's time to adjust the compression Threshold, with the large fader on the left-hand side. The Threshold is the level at which the compressor starts to lower the volume, when you're speaking louder than normal.
Using headphones for now, watch the input level meters next to the Threshold fader, while speaking in a low voice, and gradually lower the Threshold below peak input levels, as shown in the screenshot above. When you speak louder than the Threshold level, the red compression level indicator on the right will start to move - if you're wondering why this meter is upside-down, it's because it's indicating how much it lowers the volume when you speak louder than the Threshold.
While alternating between a louder and softer voice, keep adjusting the Threshold until the compression level peaks at around -6 dB for your soft voice, and around -12 dB for your loud voice.
Note that, if you find that you need a very low Threshold setting (lower than in the screenshot above) you may wish to go back to the EQ and increase it's output Gain by a few dB - a louder signal going into the compressor can make the Threshold a bit easier to adjust, because the setting is more sensitive at very low levels.
Finally, to compensate for the loss in overall volume, you will need to increase the Wet output level setting. I had to use around 3 dB myself, but you may need more or less than that, depending on the Threshold level you ended up with.
While speaking in your loudest voice, watch the Output Mix level indicator while adjusting the Wet setting, but pay attention to the peak output level value, which is displayed at the top of this meter - if the output clips, you're getting distorted audio, and this value will light up red. Once it lights up red, click on it to reset it, then lower the 'Wet' setting and try again.
When you think you have the right settings, do a test on speakers, and be sure to speak both in your loudest and your softest normal voice - come back and make small adjustments if needed.
Conclusion
In this guide, I used the free ReaPlugs suite of VST effects, which is one of the best free plug-in suites available. Overall, these effects are of very high quality - however, there are definitely better compression plug-ins available to purchase, but I don't want to advertise any commercial plug-ins in this guide. There are other free compressor effects as well, some of which may sound better, but most do not have the meters and indicators you find on this one, which should help beginners get started and get a feel for it.
Hopefully this guide helped you get better sound and gave you an idea as to why these types of effects are useful or necessary.
Happy broadcasting! :-)
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