The human voice is one of the most dynamic and expressive sound sources you’ll ever record — and not just from opera singers and heavy metal vocalists. Even a normal speaking voice has an approximate dynamic range of over 70 decibels. For your vocal tracks to hold their space in your mix, you will likely need to compress them — and hopefully compress them without sacrificing nuance and expressiveness. Here are five of the best compressors for practically any vocal application.
Universal Audio LA-2A
Built to the same specs as the early-’60s Teletronix LA-2A Leveling Amplifier, the Universal Audio LA-2A remains one of the most-used vocal compressors in the world. Ever since the ’60s, countless engineers have come to the conclusion that you simply can’t make the LA-2A sound bad — even at extreme settings. You can dial in heavy compression without unwanted artifacts, and its simple 2-knob control scheme makes it a pleasure to work with throughout your sessions. Part of the magic of the LA-2A is its program-dependent attack and release times, which deliver exceptional results on any source, especially vocals.
- Sounds transparent even with heavy compression or limiting
- Can add harmonic excitement with high-input gain levels
- Easy to dial in, and practically impossible to make sound bad
Hazelrigg Industries VNE Compressor – Highway 30 Edition
Adding a Hazelrigg Industries VNE Compressor – Highway 30 Edition to your rack adds flexible compression that’s equally well-suited for tracking vocals, mixing, and mastering! This tube compressor is nothing like the old-school compressors you’re accustomed to. It uses Hazelrigg’s proprietary PWM (Pulse Width Modulation) circuit for ultra-transparent dynamics control. Don’t let its simple control panel fool you, though. The VNE Compressor is a veritable Swiss Army knife capable of handling vocals of all stripes. Finally, the striking Highway 30 Edition is only available at Sweetwater!
- All-tube signal path delivers incredibly rich tones
- Ultra-flexible controls dial up the perfect sound for every situation
- Leverages PWM (Pulse Width Modulation) compression for amazingly musical results
Tube-Tech CL 1B
Just as the aforementioned LA-2A is the first choice of many engineers for transparent compression and limiting, the Tube-Tech CL 1B is often the top pick for a “color” compressor. Its design combines an op-amp side-chain control circuit with a tube-based push-pull amplifier, resulting in precise response and lots of sonic character. Vocals take on a smooth sheen that helps them hold their place even in dense mixes. One unique thing about the CL 1B is that it features fixed or manual control of the Attack and Release circuits (Fixed Attack/Fixed Release, Fixed Attack/Variable Release, or Variable Attack/Variable Release) for maximum flexibility in how the compressor responds to your vocal tracks. Two of these can also be interconnected for stereo use.
- Robust transformers and tube-based amp deliver colorful, characterful sonic results
- Creates ultra-smooth vocal tracks with a highly enjoyable top-end sheen
- Unique low-distortion gain reduction element delivers artifact-free results even at heavy settings
dbx 560A
The dbx 560A is the 500 Series version of one of the most-used compressors in studios around the world, the dbx 160A. This full-featured dynamics controller is a studio workhorse: use it to tame peaks and signal spikes, use it for gentle smoothing and sonic fortification, or even use it as a brickwall limiter at the end of a processing chain. One of its most popular features is the Overeasy mode — this controls how compression begins to take hold near the threshold, which is great for vocals. You can use it to smooth out sharp attacks or to enhance transient impact. However you use it, you can expect precise, transparent results from the 560A module.
- Precise, transparent compressor/limiter that is a top choice for recording, mixing, and broadcast engineers
- Wide ratio range allows for everything from subtle smoothing and enhancement to brickwall limiting
- Overeasy mode switch tailors the compression attack curve to smooth out or enhance transient impact
Universal Audio 1176LN Limiting Amplifier
In 1967, Bill Putnam released the first 1176, the solid-state redesign of his venerable 176 tube compressor, and it remains one of the most popular studio compressors of all time. The Universal Audio 1176LN is built to the same original specs, and it packs the same legendary sonic mojo. Boasting all-transistor circuitry and a unique transformer design, the 1176LN is capable of amazingly fast attack times — as low as 20 microseconds. It’ll clamp onto even the most dynamic signals with precision and has a robust sonic signature that’s desirable all on its own — even if you’re not actually applying compression. Four ratios are selectable via push-buttons (4:1 and 8:1 for compression, 12:1 and 20:1 for limiting). Just like the original, you can push in all buttons for “Nuke” mode for explosive results — perfect for hard rock vocals.
- All-transistor design is capable of ultra-fast response times, down to 20 microseconds
- Has a colorful and characteristic sound on its own, even when not applying heavy compression
- Push all 4 ratio buttons in simultaneously for “Nuke” mode and explosive sonic results
Empirical Labs Distressor
The Distressor analog compressor remains one of the most highly regarded modern-day compressor designs. Featuring built-in harmonic enhancement, you can add 2nd- or 3rd-order harmonic distortion to your signal to emulate vintage tape saturation and tube mojo. Not only does it sound sweet, but gentle harmonic distortion can also help your vocals remain clear and present in a dense mix. The Distressor is also beloved for its side-chain EQ, which can prevent excessive bass (caused by proximity effect) from triggering it, resulting in over-compressed vocal tracks.
- Built-in harmonic enhancer can add 2nd- or 3rd-order harmonics to emulate vintage tape saturation
- Side-chain EQ prevents low frequencies caused by proximity effect from triggering unwanted over-compression
- Like having multiple compressors in one — hundreds of sonic options are available with just a few control settings
Manley Variable Mu Stereo Compressor Limiter
Versatility is the name of the game with the Variable Mu stereo compressor/limiter. Though it may seem like the odd man out as the only stereo compressor/limiter on the list, the Variable Mu’s stereo link switch enables you to color mono or stereo sources with equal aplomb. Its integrated highpass-sidechain mod allows you to use it on your vox without any pumping due to low frequencies, and a continuously variable threshold plus a vacuum tube rank it among the most musical and sensitive compressors available.
- Stereo link for coloring mono or stereo sources makes it wonderful for vocals — and anything else!
- Variable-gain vacuum tube plus continuously variable threshold respond with high sensitivity to vocal performances
Fairchild 660 Tube Limiter/Compressor
For 45 years, Sweetwater has prided itself on open and honest dialogue with its customers. With that in mind, we won’t lie to you: the Fairchild 660 is a pricey unit not for the faint of heart. Still, if you’ve got the budget, then it’s arguably the finest single-channel dynamics processor ever created. Why? Simply put, it sounds like nothing else. Its program-dependent style of compression, extremely low self-noise (especially for a tube-driven unit), high control voltage, and intuitive control scheme come together to create a timeless piece of gear that literally makes anything that passes through it sound instantly awesome.
- Program-dependent, tube-driven compression/limiting that produces immediately incredible results without any “pumping” artifacts
- Extremely fast attack times and extremely low self-noise
- Unique yet intuitive control scheme makes it easy to quickly dial in perfect compression/limiting settings
Great, but Which Is Best?
The best vocal compressor is the one that allows you to shape your vocalist’s track exactly how you want. We’re not trying to be cute here — you could own all five of the compressors listed above, and perhaps only one would sound “right” on your next vocal session. The reason these compressors made this list is that they’ve proven their versatility and sonics in studios around the world for decades. You’ve heard them countless times without knowing it. Audio engineers of all types rely on them because they know they can achieve superior results in a wide range of applications. But which one is right for your day-to-day vocal sessions? We’re always ready to talk gear — call your Sweetwater Sales Engineer at (800) 222-4700, and we’ll do whatever we can to help you make an informed decision based on your sonic needs.
