6 Free Compressor Plugins That Absolutely Slap (Audio Demos Inside!). Logic pro x compressor free

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Logic pro x compressor free - Compressor VST Plugins – Honorable Mentions

 

Despite the simplicity, DC1A is packed with winning sonic character and is a great tool for adding an element of faux-analogue to tracks in your DAW. It can add a lovely hint of saturation too, which is great for subtle harmonic enhancement of mid and high frequencies. While the main controls are fairly standard fare, Molotok offers flexibility in the form of 11 distinct compression algorithms. These get progressively more aggressive as they go, ranging from a subtle and transparent squash up to characterful, heavy compression.

As a result, Molotok can successfully turn its hand to a range of mixing tasks, from adding punch to drums to beefing up thin instrument recordings. Clear metering and a user-friendly interface make this a nicely approachable plugin, too. First released back in , FreeComp remains one of the most popular freeware plugins on the web.

As its name would suggest OTT, from Serum developer Xfer, is not a plugin generally associated with subtlety. Rather than the standard dynamics control offered by usual compressors, OTT is best used for making weaker sounds pop out of a mix. Frontier is a hardware-style limiter capable of being deployed for both transparent dynamics control and more creative uses. Loaded on a track or buss with levels set to subtly nudge the threshold, it can roll off peaks cleanly.

With the input cranked, however, it can sound great for more overt limiting with an optional Soft Clip for the resulting distortion. As with most limiters of this kind, the range of controls is fairly spartan, but modern touches such as automatic gain compensation, MIDI learn and a preset browser do add to the flexibility. Punch and Dirt modes do offer some control over the quality of the effect, but realistically, if you want fine-tuned dynamics there are many better options in this round-up.

What SuperCharger is great at is imparting a lovely touch of flattering distortion. These 5 functions offer a surprising amount of flexibility and introduce complex tonality. By blending the two functions together, you compress and saturate the signal in a complex and significant manner.

Try this compression on a full mix or instrument group. Yala by Analog Obsession is a seemingly simplistic compressor. The strangeness of this plugin comes from the first 2 functions. The attenuation function, although seemingly meant to control the amount of attenuation, is make-up gain. Release and threshold work as expected with the release function ranging from a very quick to very slow setting, and the threshold behaving as a typical threshold would.

Power is simply a bypass function whereas oversampling introduces filtering to alleviate any aliasing and intermodulation distortion. Also, the release affects the amplitude of the harmonics generated, with a quick-release resulting in the loudest harmonics, and a slow-release resulting in the quietest.

This allows you to really get some character out of your compression and makes the YALA compressor a fantastic option for parallel compression and bus compression. The ClipShifter is different than most compression or limiting plugins. Whereas most compression plugins or plugins in general really attempt to avoid clipping distortion, Clip Shifter utilizes it as a creative tool. Although this seems to go against how audio should be processed, the clipping generated by this compressor can come in handy or be used creatively.

The compression-Esque functions of this plugin include:. The Initial function determines the point at which the compressor will begin to clip the signal, whereas the End function determines the final amplitude of the clipped signal.

Although this plugin is a bit unorthodox, it can be thought of like a compressor that instead of simply attenuating the signal, attenuates the signal with clipping distortion.

With that said, the greater the attenuation, the greater the amplitude of the distortion. This plugin may not be a go-to choice for traditional compression, but it does offer a unique form of processing that can be used creatively.

Another unique entry on this list, Couture by Auburn Sounds offers a way to affect the ADSR of a signal and to perform compression and transient shaping independent of that transients amplitude. When using the main transient shaping functions, you can either compress the transient and amplify the sustain and release of the signal, or you can amplify the transient and compress the sustain and release. The detection setting you choose also determines what transients get boosted or cut, depending on the frequency of that transient.

One of the simpler plugins on this list, the DC1A by Klanghelm only utilizes two rotaries — or at least this is how it appears at first. It is true that you can use this plugin in its most simple form — that is increasing the input to cause compression, you can also create some nuanced effects using its additional functionality. Deep, Relaxed, Dual Mono, and Negative buttons at the bottom can be used to significantly affect the sound of your compression.

The Deep function introduces a High Pass filter to alleviate the effect of pumping. Dual mono changes the input from stereo to two independent compressions that treat the left and right channels independently. And Negative inverts the ratio, causing expansion. Lastly, the DC1A employs subtle harmonic generation to make your signal sound fuller and more complex. Try this compressor out if you want a quick and effective way to add some character and punch to your signal, all while controlling your dynamics.

Varimoon is similar to the other Analog Obsession compressor listed earlier but includes additional functionality and more intricate harmonic generation. First off, this compressor incorporates a variable release function , offering 6 settings. Settings 1 — 4 correspond to times ranging from 0.

The AC threshold can be thought of as a typical threshold, whereas the input attenuation can be thought of as a ratio. It only seems to affect the signal once significant compression is already applied. Everything is so responsive, there is visual feedback on the controls where possible, showing how the signal is being monitored and reacting to the compression. The knobs are smooth and precise, there is plenty of resolution in each control and getting precise values with the mouse alone is no problem though they can be typed in if needed.

In this context, Frontier by D16 is a military grade weapon that is dangerous in the wrong hands. This plugin is true to the idea that limiters ought to maximize loudness without compromising headroom. The results are seriously huge, the amount of body that can be added to even the wimpiest of drum hits is quite remarkable. It should be noted that roughly 5ms of latency is introduced when Frontier is active, at least this seems to be the case in Live 10 Suite.

Percs: In this demo, you can hear Frontier making these raw junk hits absolutely huge. Frontier is stripped back when it comes to the controls but the ones provided are essential and should not be ignored. The interface is fresh, attractive and consistent with other D16 effect plugins, it fits comfortably alongside their other products in both looks and sound. Finally, a compressor plugin with a horny name! The real advantage of Rough Rider is the character it lends to the sound, it can really make things slap and slam with no compromises.

In fact, anything that needs to be aggressive could benefit from this plugin, it really seems to designed to be loud and proud as opposed to a stealth mastering tool like Kotelnikov.

There is a small handful of presets, but any more would mean redundancy with such few controls. The updated interface for version 2 looks sleek and crispy, the skeuomorphic attempts at realism in the first version have been abandoned in favor of a no-nonsense minimalist approach which underplays the beastly nature of this plugin. The window is fully resizable, a feature that is becoming increasingly standardized as screen resolutions in home and professional studios vary more and more.

For those unfamiliar with multiband compression, think of it as a combination of EQ and dynamics control. This means you can apply different levels of dynamic control to your bass, midrange and treble, helping you to perfect the dynamic response across various frequency ranges. This is perfect for drum busses where only the low end of your kick may need fattening up, or in mastering chains for adding that final level of beef before the limiter.

As mentioned, all the familiar parts of a compressor can be found here, there are just five lots of each control as this is a multi -band compressor. Nearly anything that can be visualized is visualized; frankly, it is just short of overwhelming.

This makes Nova much less intimidating for beginners, who will be able to intuitively figure out what it is doing to their audio with sight alone. TDR deserves major props for going the extra mile on the design elements. Two bands would be sufficient for most sound sources, and more bands can then be engaged from there if the sound is active in many frequency ranges.

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