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Plug-ins, as the name implies, are pieces of software that can run inside other programs but in order to do so they have to be distributed in a specific format that is supported by the host application. The two most popular plug-in formats are: VST (Mac and Windows) - Stands for Virtual Studio Technology and was developed by Steinberg. Adobe Audition plugins can make your voice sound completely different! Here are two of my favourite Adobe Audition VST plugins that can make your voice sing without you having to sing a single note. Adobe Audition Plugins Morphoder.

You can even just pitch the sample in the 'time stretch' panel. (make sure it's set to 'auto' but in my case it always jumps to auto when I fiddle with the pitch knob) It will pitch the sample without altering the length. Thus make the voice more male or female. But I suppose other programs are better because the knob to do it with is pretty small. RoVee is a VoiceChanger / formant tweaking VST plugin that can convert voices like male to female, female to male, or create voice like toys or robotic. RoVee allow you to change formant of a vocal tracks, but the pitch and the tone remains the same. RoVee is a cut down version of KeroVee, an auto-tune plugin by g200kg. Watch RoVee Video Demo. The human voice can truly add soul and character in music. Anything from the deep bass of male choirs, to divine female choirs, and gentle children choirs. In this quick guide I have compiled a list of great choir VST libraries. Audio software for professionals and gamers. MorphVOX Pro Plug-ins. Add new professional functionality to MorphVOX Pro with these plug-ins. MegaVST is a free VST plugins archive, download free audio plugin for musician or sound engineer. We allow you to download freeware VST, both audio effects and virtual instruments (VSTi). This plugin can be used in audio software (DAW) that supports VST including: Steinberg Cubase, Nuendo, FL Studio (Fruityloops), Ableton Live, Adobe Audition, etc.

Most podcasters and info spreaders are quick to talk about the gear they recommend — me included — for getting great audio.

We know all about the ATR2100 or other mics like the Shure SM58 because they get a lot of word of mouth, but even if you have great gear that’s only one part of the puzzle.

After you record your audio, you’ll need to edit and process it. That’s what we’re talking about today:

Ooooooooooooh yeah.

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You’re probably wondering why even the most prolific podcasters and audio content producers don’t really talk about plugins. Frankly… there’s no commission with free plugins.

My site is currently too young to have any real affiliate marketing yet, so I’m happy to talk about it! /top-virtual-instrument-vst-free.html.

Here’s the rundown:

Picture above (left) is the AIR Kill EQ which is a 3-band eq, and (right) the Channel Strip EQ which is a parametric eq.

3-band equalizers

You probably recognize the 3-band interface of the Air Kill EQ. It has the typical Low – Mid – High options that you’re used to seeing on a mixing board. When you turn up one of these knobs — also called pots which is short for potentiometer… the more you know — you increase that specific sound. When you turn the knob down it also turns down that sound… simple enough, right? With the 3-band EQ these groups of frequencies or bands are fixed, and cannot be spread out or focused unless they have a sweep which this 3-band EQ happens to have.

So if you want less low frequency in your sound you are able to lower it by turning down the low knob. If you want more clarity you are able to turn up the high knob. It’s very straight forward.

Parametric equalizers

You might be familiar with the layout of a parametric equalizer if you’ve ever played around in Garageband or other editing softwares. When using this type of EQ you are able to grab a specific point and drag it around the frequency spectrum. This allows you to select a specific frequency you want to manipulate. You can then either focus in on it, or broaden your selection by manipulating your Q — that’s a bit tough to understand in writing, so just play with it when you can. You’ll hear the difference. The Channel Strip plugin allows you to manipulate 4 different frequency points including a low frequency (LF), low mid frequency (LMF), high mid frequency (HMF), and a high frequency (HF) along with two filters.

More often than not, I will use a parametric equalizer because I love the visual representation and the extra precision.

Dyn3 Expander / Gate Pictured Above

Simplified, gates get rid of unwanted noise such as breathing, or spit smacks by clamping down — closing — when you aren’t speaking. The gate determines what is considered unwanted sound with the threshold. If the audio is quieter than the set threshold, the gate remains closed preventing any audio from passing.

This is the #1 tool I rely on for cleaning up audio when producing voiceover.

Garageband, Pro Tools, Logic Pro X, and many other softwares have this tool built in. Trust me, the gate is your friend.

For Further Learning: Audio Gates & Expanders Explained

Dyn3 Compressor / Limiter Picture Above

Compressors work to decrease your audio’s dynamic range. Why does that matter? When you’re producing audio for broadcast you want a smaller — compressed — amount of volume fluctuation, so that your listener doesn’t have to mess with their volume.

Have you ever watched a movie where all of the sudden the music comes in and you struggle to hear the dialogue? That’s a great example of too much dynamic range, and not enough compression. By keeping your audio in a tight pocket you enable your listener to hear your voice at all times whether you speak softly or are shouting.

Speaking of shouting, the compressor also helps prevent audio from reaching 0 dB and peaking. In this case, the threshold determines when to start compressing the audio. As soon as the volume is over the threshold the compressor applies its ratio. In the picture above, the ratio is 3.0:1. That means for every 3 decibels (dB) that the audio goes over the threshold, only 1 decibel will actually pass. Pretty neat, right!

For Further Learning: Compression 101: How to Use a Compressor (I apologize ahead of time… this dude’s like… really dry.)

Maxim Limiter Pictured Above

A limiter is essentially a compressor on steroids. As soon as the audio goes over the threshold it is boosted up to the ceiling or specific output that is set — that’s insanely reductive, but we’ll count it. This is used to tighten up your dynamics even more, and can really sound like crap if you overdo it. This is definitely a process that shows its price tag. Waves makes some amazing limiters, but the stock ones that come with most softwares can’t be pushed very hard without causing distortion. Note: Audacity calls their limiter a leveler.

For Further Learning: A Beginner’s Introduction to Limiters by Mo Volans – Mo is awesomely thorough in this article!

Normalize Pictured Above

You always need to normalize your audio as a final step. All it does — when the peak setting is selected — is maximize your volume based on the loudest point in your recording. Looking at the picture above, if you move the level to the left, you set the deciBels to a lower level. So if you were to set it -1 dB, then the loudest point in your audio will be -1 dB. It’s incredibly simple, but extremely powerful for adding that last little bit of polish to your audio.

These 5 plugins more than any others are the nuts and bolts of great voiceover and podcast audio. If you master them, you will deliver industry standard high quality audio every time. Plus, you will only get better with practice, and experience!

If you enjoyed this article or found it useful be sure to subscribe to our newsletter and receive 18 Royalty Free Music Tracks.

In the meantime, drop me a comment below and share which plugins you use to knock your audio out of the park.

Till next time,

Cheers

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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

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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.

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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. Best free ir host vst. 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.

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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.

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.