7 Best Vocal Compressors of 2024

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Compression is a must for any vocal production; it helps you control the dynamics of an audio signal by making the louder parts quieter and the quiet parts louder, allowing your vocals to have a place in the mix while staying audible within the song.

In a world where plugin compressors reign supreme, hardware compressors still deliver a unique workflow for those willing to invest in getting the classic sound of your favorite artists.

And if you’re considering getting a hardware compressor for your studio, you're in luck – on this list, you'll find some of the most loved and best vocal compressors on the market today.

If you're short on time, let me just say the Universal Audio LA-2A is a phenomenal vocal compressor, and if you can afford it, it might become a crucial element of your recording studio for years to come. Smooth and versatile, the LA-2A is the weapon of choice for many first-class audio engineers around the world.

Keep reading to find out more about all the other great vocal compressors!

Best Vocal Compressors

1. Best Overall Vocal Compressor – Universal Audio LA-2A

SPECS

• Compression type: Optical
• Channels: 1
• Controls: Gain, Peak Reduction
• Dimensions: 5.25" x 7.25" x 19"

The iconic LA-2A has been a staple in every studio since its introduction in the 1960s. Despite being almost sixty years old, it is still one of the most sought-after compressors by producers and audio engineers due to its smooth compression and ease of use. As many say, it's easy to set it up and hard to make it sound bad.

The Universal Audio reissue stays true to the original Teletronix LA-2A in terms of construction, functionality, and design.

The UA LA-2A is loved by rock and pop producers because it can make translucent, smooth vocal recordings and add some color and flair. Its versatility for vocals, bass, kicks, guitars, and more makes it a must-have in every top-tier studio. However, it's not for everyone, as it might be excessively vibrant and aggressive for some singers.

The lack of attack and release controls could be a draw for some, although it can help bring to life an authentic and analog sound. Another downside of the LA-2A is its price, but there's a reason why it's still such a popular compressor: it's a fantastic piece of gear that'll stand the test of time for years to come.

2. Best Vocal Compressor for Modern Genres – Tube-Tech CL1B Tube Optical Compressor

SPECS

• Compression type: Tube Optical
• Channels: 1
• Controls: Gain, Ratio, Threshold, Attack, Release
• Dimensions: 5.25" x 6.7" x 19"

The Tube-Tech CL1B is a clean, smooth, transparent, and not too colored tube opto compressor. Many modern rap and hip-hop vocalists use it because it keeps the transparency of vocals even with extreme compression. The CL1B provides a perfect mix of warmth and openness with gain reduction.

The ease of use of the CL1B makes it a great choice for every studio, be it small or professional. Learning how to set it up may take some time as it features a plethora of knobs to adjust the gain, ratio, threshold, attack, and release, but it gives more control over sound than any other compressors.

Also, if you want to customize your sound further, you can change the stock tubes in the CL1B to have more options for tone and color.

3. Best Vocal Compressor (Runner-Up)  – Universal Audio 1176LN

SPECS

• Compression type: FET
• Channels: 1
• Controls: Input, Output, Attack, Release, and Ratio buttons
• Dimensions: 3.5" x 12.25" x 19"

Another reissue by Bill Putnam is the classic FET compressor UREI 1176. The UA 1176LN features lightning-fast attack and release speeds that deliver a wide range of audio modulation and dynamics control. Whether you’re looking for subtle or aggressive compression, the 1176LN can provide a unique sound.

It can compress on ratios 4:1 and 8:1 and is used as a limiter with ratios 12:1 and 20:1. The 1176LN's push buttons allow you to go into British or Nuke mode that adds that peculiar, squeezed sound. It can provide a new color and vibe to any signal by simply running it through the 1176LN without compression.

The UA 1176LN works exceptionally well alongside the LA-2A. That's why you will see them both in almost any studio. But it’s also a good companion for many other compressors. There's only a little to say on the downsides except the price tag, which goes further up if you want to pair it with the LA-2A.

4. The Swiss Army Knife of Compressors – Empirical Labs EL8-X Distressor

SPECS

• Compression type: VCA
• Channels: 1
• Controls: Ratio buttons, Input, Attack, Release, and Output
• Dimensions: 1.75" x 10” x 19”

Empirical Labs developed the EL8-X Distressor with the fondness of vintage compressors like the 1176LN and the LA-2A in mind. It’s a must-have compressor among modern tools, described as the child of the classic 1176LN and LA-2A but with a brand-new character.

The EL8X is not just an “alternative” to achieve the sound of other compressors. It offers a warm and subtle compression with warm harmonic distortion. It features two distortion modes to color your vocals designed to emulate tube and tape sound.

It also includes two high-pass filters in the audio and detector paths to tame those pumping low frequencies.

Other features of the EL8-X include a designated switch for British Mode, similar to the one in 1176LN, and a stereo link image dedicated switch. These traits make the EL8-X a versatile compressor for your vocal tracks and mix.

5. Best Tube Compressor – Retro Instruments 176

SPECS

• Compression type: Tube
• Channels: 1
• Controls: Ratio, Attack, Release, Input, Output, Sidechain HP filter,
• Dimensions: 3.5" x 9.5” x 19”

The Retro Instruments 176 compressor was designed after the UA 176 tube compressor. It features four compression ratio settings, continuously variable attack and release times, an interstage switch, vocal asymmetry control, and a sidechain HP filter to fine-tune your dynamics and reduce the low-frequency pumping.

The Retro 176 is a modern take on the original UA 176 to deliver precise dynamic control and create a variety of sonic whirlwinds. The mix of vintage and modern features makes the Retro 176 a versatile compressor hardware for tracking, mixing, and mastering. It adds a velvety sound, particularly to vocals, and warmth to bass and acoustic guitars.

6. Best Easy-To-Use Compressor – Summit Audio TLA-100A

SPECS

• Compression type: Tube Compressor/Limiter
• Channels: 1
• Controls: Attack and Release switch (Fast, Medium, and Slow), Gain, Gain reduction
• Dimensions: 3.5" x 10” x 19”

The Summit Audio TLA-100A is a set-and-forget compressor hardware: it’s easy to set up and use, and it’s a very forgiving compressor. If you’re starting or looking for a “plug-and-play" feel, the TLA-100A will deliver it, so you can concentrate on producing good vocal tracks instead of spending time settings knobs.

One of the best features is its hybrid solid state and tube technology that allows you to produce a smooth and warm sound with a fast attack to manage quick transients typical in vocals and a characteristic soft knee.

The TLA100 alone can add weight, clarity, and warmth to any audio source. To further enhance its performance, you can pair it with the 1176.

7. Best Budget Compressor – DBX 560A

SPECS

• Compression type: VCA Compressor
• Channels: 1
• Controls: Threshold, Ratio, Output Gain, mode
• Ratio: 1 to infinity
• Dimensions: 5.5" x 6” x 1.5”

The DBX 560A is a VCA compressor in 500 series rack formats. It features the OverEasy switch from the DBX 160A, allowing you to alternate between two compression modes. One is for the classic hard knee compression, and the OverEasy mode is for a smoother, natural, transparent compression for vocals and instruments. The attack and release in the dx 560A are program-controlled, similar to the 160A, which can be convenient.

If you struggle to control unstable vocals, the infinity + inverse compression mode in the 560A is a lifesaver, as it works by decreasing the input level when the input threshold is surpassed. The visual LEDs in the 560A will make it easy to see what is happening with your output/input and gain reduction levels.

The DBX 560A is the best 500 series compressor. It’s small, simple to use, and a powerhouse for your small studio.

Best Vocal Compressors Buyer's Guide

Deciding which compressor to buy can be a never-ending search. To help you narrow your search, here is what you should consider when buying a vocal compressor.

Controls and Features

Compressors come in many forms and shapes, with different features and control configurations for all needs, so it all comes down to how much control and hands-on you want over the compressor.

Some only feature just threshold, while others allow room for more customization with threshold, release, and attack knobs, ratio options, or the "all button in" mode, ideal for controlling dynamics. There’s no rule stating more knobs equals better quality; it’s more about how the control works for that specific hardware and the rest of its features.

Always look at the features you need or use the most. Do you need a fast-attack compressor? More peak control? Do you prefer a transparent or a heavy compression? Look for what will help you get the perfect sound in the shortest time. 

Compressor Type

There are different compressor types depending on its internal components. Knowing how each compressor type works will make it easy to understand when and how to use them.

The following are the four compression styles:

Tube compressors. Also called variable mu compressors, a tube compressor uses a vacuum tube to achieve gain reduction. The tubes provide a rich and warm character to your vocals, and tube compressors are loved for the vintage tape saturation effect reminiscent of the analog era.

The main feature of the tube compressor type is its slow attack and the added saturation and harmonic distortion to the mix, which enhances that tube character extremely popular in rock and retro music genres.

Optical compressors. Optical or opto compressors use an optical cell and light-dependant elements to apply gain reduction depending on the intensity of the input sign. The main feature of an optical compressor is the smooth and clean compression, but it might be too slow for fast transients.

FET compressors. This compression type uses a transistor for gain reduction (thus its name, Field Effect Transistor). The FET type's main feature is the fast attack, perfect for taming peaks and adding brightness and punch to your mix. FET compressors add distortion, which makes them more suitable for tracking and mixing vocals but not for mastering.

VCA compressors. VCA stands for Voltage Controlled Amplifier. They depend on a control signal to apply gain reduction and usually have additional controls than other types. They are responsive, precise, and predictable and provide a clean, punchy sound. VCA compressors are generally paired with Optical or Tube compressors to counter the faster attack and lack of color.

Connectivity

Most compressors will require XLR and 1/4 inches jack cables for inputs and outputs, stereo link, and sidechain. Ensure you have enough XLR cables in your studio to avoid switching between the multiple devices you have. A good practice is always to have a spare XLR and 1/4 cables.

Budget

Money is always the decisive factor when buying new audio gear. You can reduce your search by filtering your options by price. Most top and mainstream compressors, such as the LA-2A and the CL1B, are in the $3000 to $4000 or above. But you can find many options for less, like the EL8-X and the DBX 560A. 

Frequently Asked Questions (FAQs)

What is the difference between an optical, VCA, FET, and tube compressor?

The difference relies on their internal elements and how the gain reduction is applied. Tube compressors use vacuum tubes, optical compressors, optical cells, and light elements. VCA depends on the control signal, and FET uses transistors.

Tube and optical compressors tend to be slower in the attack than VCA and FET compressors, which are faster. This difference lets you have more options and combinations for compression. 

How do I set the attack, release, ratio, and threshold settings for vocals?

When recording vocals, you usually apply two types of compression: dynamic and tonal compression. We used dynamic compression to control peaks and tonal compression for enhancement. It also will depend on the genre you're producing. Modern pop, hip-hop, and EDM are known for the heavy compression they use.

As for the settings, remember that the threshold determines the level at which the compressors act. The attack is the time the compressor takes to apply the gain reduction to the signal after the threshold is reached. Release is how fast the compressor recovers from compression. The ratio tells the compressor how much gain reduction to apply.

Use a faster attack, release time, high ratio, and threshold for dynamic compression. This will help you catch the peaks and recover quickly after compression. The key is to listen and adjust the controls to avoid applying too much compression unless that's your aim. Use a slower attack and release times to enhance your vocal tone for a smoother and cleaner compression. 

What is the difference between a hardware compressor and a software/plugin compressor?

A plugin or compression via software is a program that emulates the sound of a hardware compressor. Some plugins can deliver a perfect emulation with no audible difference, but this is only the case for some plugins. However, the plugins are more affordable and simplify workflow. On the other hand, hardware compressors require less processing from your computer. 

How does a compressor affect the tone and dynamics of the vocals?

A compressor reduces the dynamic range. This is the distance between the loud and quiet parts of a vocal track. Compression keeps your vocals consistent in volume without high peaks and inaudible sections. The result is audible vocals with more presence. Some compressors also add saturation for a warm sound that can enhance your overall tone when used correctly.

How do I use a compressor without over-compressing and losing vocal dynamics?

It’s important to know why you’re applying compression. A compressor is a tool with a purpose, not something you throw into the mix to make it "sound better." For vocals, the aim is to make them sit on top of the mix, always audible and at the same volume.

Using multiple compressors can help you avoid over-compressing by applying light compression for tracking to catch peaks and then applying a second compressor to control dynamics and enhance the tone. The best way to achieve this is to sit and get to know your hardware and how to make it work with each singer you work with.

Final Thoughts

I hope this guide helped you understand which are the best vocal compressors you can get to upgrade your recording studio!

Undoubtedly, the 1176LN, and especially the LA-2A, paved the way and set a standard for compressors, and are definitely the best ones you can get right now. However, if you're on a budget, the DBX 560A is an excellent option that can help you polish your tracks without breaking the bank.

Good luck!