Best vocal compressor software

Tube compressors work differently than VCA and Optical compressors, relying on a tube to control the ratio and action of the compressor. The Fairchild has a very fast attack, in the range of half a millisecond, along with a slow to very slow release time. Instead, their ratio automatically increases from around up to limiting as the input level and the corresponding amount of gain reduction increases.

Fairchild and attack and release times are adjusted using a single Time Constant knob. Each of the six selectable time constant settings provides a specific combination of a quick attack time and either a moderately-slow or program-dependent release time. More important than gain reduction, Fairchild compressors impart their unique sonic signature onto whatever you put through them.

Clamping down hard imparts a beautiful, lush sound that generally flatters vocals. Another class of compressors, suitable for slightly more aggressive treatment of vocals, is the FET field effect transistor based compressor.

Geekiness aside, the critical thing to know is that the attack times on FET compressors are extremely fast, well below one millisecond, and FET circuits tend to brighten the tone and add extra edge and excitement to the signal.

The attack and release knobs are calibrated opposite of other compressors, with slow values to the left and fast values to the right. The ratio is set via four radio pushbuttons.

Each ratio setting, including the all-buttons-in setting, has a unique character and vocals typically work well with the attack towards the slowest setting and the release towards the quickest setting. See the chart at the end for more descriptions of FET compressors.

Regardless of what type of compressor you are using, they are almost always imperfect in one way or another. Perhaps their gain reduction is non-linear. Maybe they have attack and release times that change based on the level or frequency content of the input signal. Or maybe a certain amount of saturation or distortion becomes obvious past a specific amount of gain reduction.

Once you get to know a compressor, you will usually find that it has a sweet spot— a particular combination of settings that highlight its best tonal and gain-reduction characteristics. There are loud moments, soft moments and everything in-between. This pre-compressor leveling will ensure a more even signal is hitting the compressor, allowing it to function in its sweet spot more of the time.

The compressor can then uniformly impart its sonic character and easily control the dynamics of the performance. A compressor that constantly jumps in and out of dynamic processing can cause distracting tonal changes in a vocal. Modern vocals that have to compete in dense arrangements can benefit from multiple stages of compression, either in series, parallel, or both. This way, no single compressor has to work too hard. Using multiple compressors also allows you to take advantage of each one for their unique characteristics.

For example, on an aggressive vocal, it can be beneficial to start your vocal chain with a FET compressor. The fast attack time will grab the transients and even out the peaks right off the top.

With the peaks taken care of, insert an opto compressor next to even out the overall level of the signal. Remember, when using multiple stages of compression, just a few dB of gain reduction is all that is needed at any one processing stage. Working in series like this, you can also insert an EQ between the compressors to enhance, or reduce, the energy of specific frequencies.

With the taking care of the peaks, perhaps a broad gentle boost in the low mids before the LA2A will help bring out the warm area of an otherwise slightly thin female lead. I noticed that this unit retains a clear sound and a presence; even without resorting to tweaking EQ on the console. When I opted to test the compressor with an electric guitar, I noticed that it gives life to an otherwise dull sound.

It adds character, and I believe that this is where you will really appreciate the equalizer feature on the vocal compressor. It produces a better sound than what I expected and works extremely well to control the bass sounds. There is almost nothing to dislike here. However, if I have to nitpick, two things do come to mind. First, I observed that it can be somewhat hard to see where the toggle switches are. I was also bummed by the lack of side-chain linking capabilities.

Recommended for: This unit is recommended for all who are interested in a vintage-like vocal compressor. It might be slightly expensive, but the overall performance definitely justifies the relatively high price. If you're a serious producer and want the best vocal compressor for a home studio , this is the perfect option for you.

This unit is a vintage style vocal compressor or leveller from Golden Age. It is a single channel option that offers really impressive performance; especially when you consider the relatively low cost. It comes with several features that make it higher rated than many other options on the market right now. Some of these components utilized include capacitors, transistors and resistors.

Due to the technology it uses, I discovered that it comes with transformer balanced input and output. Interesting, each of these input and output is powered using separate transformers. This separation surely improves the efficiency of the unit. Hence, the output and input is fully optimized for performance.

The separate transformers powering the input and output might sound familiar, especially if you used vocal compressors before the creation of integrated circuits. This separation used to be the standard way of creating audio components, and the technology makes a comeback in this vintage unit. Performance-wise, there is almost no beating this unit, especially when compared with similarly priced options. Suffice it to say that the sound is incredible.

Design-wise, it looks great. The front panel is not cluttered and comes with only the essential controls. It comes with the ratio switch on the front panel, which is honestly great. While new technology is often better than older versions, it seems to be the reverse in this case.

Integrated circuits are nice because of their size and the ease of incorporating it into designs. For most folks, the sound quality from older components is just right to the ears. This interesting situation is made even more pronounced, considering that the sound quality when the sounds are recorded by digital audio equipment is markedly different. It is definitely because of this that you have many manufacturers dusting the shelves to reproduce some of the iconic vintage vocal compressors.

It is also the main reason why vintage vocal compressors are more expensive than their modern counterparts. In this product, the circuit is built using a vintage design.

It is controlled via an electro-luminescent panel and a photoelectric cell. This combination gives the unit some of the best sounds that you will hear via a vocal compressor at this price. Personally, I very much enjoyed the character and punch the new sound has. Another reason why I love this budget option is that it is truly easy to set up and use. It comes with a pair of controls which control everything to give you the sound that you want.

Recommended for: I highly recommend this unit to engineers and musicians that are looking for a very affordable product. It's a good and affordable implementation of a classic compressor — easily one of the best vocal compressors for budget users. DBX is an industry leader in vocal compression and generally compression technology. Today, you can find DBX equipment in almost every studio of producers and vocalists worth their salt.

The company is known for relatively expensive options. Hence I was slightly sceptical about their xs line. However, I am happy to say the performance it delivered far exceeded my expectations. It is a powerful compressor that delivers incredible performance that rivals even more expensive options on the market today.

It comes with several features that make it a truly excellent option to have in the studio. The unit, according to the manufacturer, is a live sound compressor; and its performance proves this claim to be true.

When using OverEasy technology from dbx, you do not have to worry about coloration or sound squashing. What this feature does is that it converts your compressor into a unit that will deliver some of the best transitions from uncompressed to compressed sound. When testing this product in the studio, I must say I was impressed by its performance; especially when using it for guitar and bass. Bass guitars notoriously have some wild dynamics, and you need something to rein these sounds in.

Adding this unit to your existing setup will help to remove any noises that you do not want completely. In terms of value, there is almost no other option that does as well as this unit. It offers more than decent performance for a relatively low price. In the course of my testing, I observed that I experienced some loss of warmth, particularly when I used a tube preamp.

Furthermore, it is an entry-level unit; hence you can expect some issues with coloration. Recommended for: If you are a musician or producer looking for a unit that can be used in real-time, then I highly recommend this product. It works really well in this capacity and costs far less than most of the dedicated limiters on the market right now. For entry level producers, this is one of the best vocal compressors on the market in The penultimate product on our roundup is this excellent product from Tascam.

It is one of the most versatile options on the market, and we rate it as the best all-in-one processor that you can find right now.

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This will be especially beneficial if you don't have a lot of time in your day or week to work on music. I'm Reagan, and I've been writing, recording, and mixing music since , and got a degree in audio engineering in from Unity Gain Recording Institute. I also work full-time in Digital Marketing and Entrepreneurship, and am striving to help fellow musicians and producers improve their art and make a living doing the work they love.

Compression, Mixing, Vocals. Your email address will not be published. Required fields are marked. Save my name, email, and website in this browser for the next time I comment. Share 0. Tweet 0. A compressor is an amplifier who's output gain db reduces as input gain db increases. In other words, a compressor makes low volumes louder and high volumes quieter. Good compression can help make your vocal sound more full, and help it to sit on top of the mix. Needless to say, vocal compression is necessary.

The type of compressor you go for depends on what kind of sound you're shooting for. Optical Compressors:. You want to preserve the dynamic performance, while also taming it at the same time. What Makes Optical Compressors Great? This is why Optical are great if you're going to a transparent sound. Good for:. Transparent compression Adding warmth and sheen to vocals Improving the vibe of vocal tracks. Not as good for:. Controlling hard transients the fast beginning of a sound Aggressive-sounding compression.

FET Compressors:.