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You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they exist within the same sonic context.
I have a theory why “glue” processing has become so popular amongst modern mixers. Half a century ago, most music was produced by placing a well-rehearsed band of talented musicians in a proper recording space, then choosing microphones, preamps, and outboard gear that would best serve the songs, and capturing the band using a large format console and analog tape. One could argue that because studio time and tape were so expensive, bands (and engineers) took their jobs more seriously, showed up more prepared, and were more capable of together generating that elusive musical spark.
In this article, we've listed eight of the best free VST plugins for vocal mixing. These include reverbs for vocal space creation, compressors for mixing glue, vocal doublers, and autotune – ensuring all those sweet notes hit the spot. Good mastering plugins can be hard to come by, and they can definitely be expensive! This is why I created this list of the best free mastering plugins which should help you get your mixes to a new level while not spending anything! Table of Contents Youlean Loudness Meter 2 (Windows/Mac) mvMeter 2 by TBProAudio Best 15 Free Mastering VST/AU Plugins that Sound Great!
Today — computers, software, hard drive space and recording technology are easily accessible and relatively cheap. We’ve witnessed the democratization of the music industry. An inexperienced teenager can conceivably write, record and distribute an entire album to an audience of millions. The very same teenager may be using a primarily sample-based approach to produce their record, meaning they’re using audio recorded in a variety of studios, by numerous musicians and engineers to create a final product that is more of a sonic collage than it is a representation of an actual performance.
This isn’t a criticism of that style of production, merely an acknowledgment that the process of creating music is far different than it was decades ago. Even if a band is afforded and decides to take a more organic approach, there is still something about the digital process — countless overdubs, using playlists/comping, capturing nearly unlimited tracks, augmenting drums with samples, virtual instruments, complex automation, and of course the inherent sound of digital audio are just a few factors that leave us with a product that sounds and feels much different than the days of musicians together in a room, committed to tape.
Because the fast turnaround times and high amount of revisions common to modern productions, I don’t always have the opportunity to work analog gear into my process, but I prefer to, if possible. Hardware sounds great on individual elements, but also does something very special to sub-groups or entire mixes. The drums and bass start to work more in concert and seem tighter, the stereo image is more defined and the vocals sit better in the mix.
I’ve been on audio forums in which I’ve read that certain pieces of hardware can sprinkle “fairy dust” onto a mix. The sound of music being massaged by analog circuitry is greatly missing in productions created in today’s lo-fi, laptop-based studios. Combine this mostly digital workflow with the patchwork approach to assembling performances, samples and loops, and we risk being left with music that lacks cohesion.
Enter the plugins that offer those qualities that “glue” a mix together.
Digital reproductions of hardware offer old-school engineers who have migrated to a DAW-based workflow both a sense of nostalgia, and a mostly faithful reproduction of the unique sonic textures that these classic units offer. It’s not uncommon for me to process my sub-groups and/or master buss with at least one instance of processing specifically chosen to help the mix achieve a greater sense of cohesion. Here are my favorite plugins that I use to glue a mix together.
1. UAD Studer A800 + Ampex ATR-102
In my opinion, Universal Audio is unrivaled at faithfully recreating software versions of legendary hardware units. The look, functionality, and most importantly, the sound, is second to none. I often reach for one of these two emulations of classic tape machines when I want to make my mixes sound more familiar and “expensive”.
They offer two distinct sonic flavors that I have yet to find anywhere else. Think of them as excellent sources of saturation, compression and equalization all-in-one. The way they affect the stereo field, the relationship between elements and overall tonality of a mix make these the ultimate “glue” plugins.
The ATR-102 is a bit “shinier”, while the A800 is warmer and more saturated.
Mix Tip:
Each of these plugins feature the wide variety of controls found on the original units, but with plenty of extras. The ability to toggle between several distinct tape types with a single click is an astounding technological feat. Pay Attention to IPS (inches per second). The higher the IPS, the more high frequency you’ll get. 30 is great for an extra bright, polished sound, 15 should work for most program material, 7.5 if you want a lo-fi vibe, and 3.75 (ATR-102 only) as a special effect.
I hesitate to use the “wow and flutter” feature on the ATR-102 across an entire mix, at least any that will ultimately be widely distributed, but I find it a lot of fun to use them on synthesizers or as a special effect. I do find it pretty funny that for decades, wow and flutter were viewed as flaws, and now there are a deluge of plugins in which they are considered a feature, not a bug.
How to Use Tape Saturation to Enhance a Mix
➥ Mixing Pop with Ian Vargo is available now You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they ex
2. Cytomic “The Glue” + Other SSL Bus Compressor Plugins
The Master Bus Compressor found in a variety of large format SSL consoles has long been known as one of the ultimate tools for helping mixes sound more musical and cohesive, so it’s no surprise that a variety of companies have developed software emulations of it. Cytomic even named their plugin “The Glue” and I love the balanced tone and lively feeling it imparts onto mixes. UAD, Waves, and others also each make excellent digital recreations of this widely-used dynamics processor, so my suggestion is to demo them all and figure out which of them works best for you. Ableton Live users benefit from having The Glue built into the DAW.
Mix Tip:
Slow Attack, Fast Release, set the Threshold and Ratio for 1-3 dB of Gain Reduction and call it a day.
Peak Limiting with The Glue
➥ Mixing Pop with Ian Vargo is available now You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they ex
3. The Pultecs
I was fortunate enough to have just used some 500-series Pultecs for summing on a recent project and they are truly stunning equalizers. The many emulations of the EQP-1A and MEQ-5 are a great “finishing” equalizers and are perfect for making subtle or dramatic tonal changes to your mixes. Again, my suggestion is to demo all of them and decide which plugins are best based on your own personal preferences and budget, but I have noticed that the UAD version of the EQP-1A has the most noticeable effect on the stereo field, and is the one that I use the most for polishing my mixes.
Mix Tip:
Automate certain parameters (perhaps a 12k boost) so the effect is more pronounced in choruses. I apply this to subgroups and the master buss to add extra excitement and width to choruses.
UAD Pultec Passive EQ Plug-In Collection Trailer
➥ Mixing Pop with Ian Vargo is available now You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they ex
4. UAD Neve 33609
I use this compressor plugin for a wide variety of applications — vocals, guitars, subgroups … nearly everything. It really shines on the master buss, though, as it affects the tonality and relationship between instruments in a wonderful way. When dialed in properly, the drums hit harder, the bass sits lower and unwanted harshness is tamed. More so than other compressors used for cohesion, I find that the 33609 does something very special with the sense of space of a mix, helping individual elements to sound more defined and clear.
Mix Tip:
Similar to the SSL Buss Compressor, it’s advisable to use a slow attack and medium to fast release to avoid pumping, but try using the 33609 on a parallel buss with more extreme settings and then blend to taste. On several recent productions, I’ve kept the parallel buss level low until the choruses, when I bring it in to add explosive energy to the mix.
Using Compression for Spatial Clarity + Mix Buss Compression for Intimacy
➥ Mixing Pop with Ian Vargo is available now You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they ex
5. API 2500
Another legendary hardware compressor that has been emulated by numerous plugin companies, the 2500 is similar in ways to the aforementioned SSL and Neve units, but with a few added features that allow for more sonic flexibility. The tone section contains controls for knee, detector (thrust) and tone type, which are great for sculpting the sound of whatever program material you decide to run through it.
Mix Tip:
Take full advantage of the detector control. This is a feature that you won’t find on most other compressors. Essentially, you have the ability to make the unit less affected by low frequencies, resulting in a more focused midrange with an incredible punch. Many compressors do have a sidechain option, but they don’t work quite this way.
Summary
If you find your DAW-based productions sounding a bit cold, lifeless and dull, consider using any of the aforementioned plugins to emulate the cohesion of mixes created in decades prior. There are plenty of benefits to working in the digital realm, and we’re extremely fortunate to be in an era where there are so many high-quality plugin emulations of analog gear. A majority of the time that humans have been listening to recorded music, it has been created via analog means, and I believe we’ve adapted to find this sound familiar and even comforting. If you can’t afford consoles, outboard gear, and tape machines, fear not, as we have plenty of options that offer us a big percentage of the sound quality, at a fraction of the price.
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Compression and EQ are the two most essential tools in mixing.
You’ll probably apply them on every single track in your session before the mix is complete.
With such a key part of the music production process, you need to have tools you can rely on.
But choosing the right compressor plugin isn’t easy. There are thousands of compressor VSTs out there, and not all of them work well for every task.
Even so, it doesn’t have to be intimidating. You’ll always get the right tool for the job if you know what a compressor does, the different compressor types and where they work best.
In this guide I’ll go through each style of compressor, recommend a smart choice for every budget and show the best ways to use them in your mix or master.
What is a compressor?
A compressor is an audio processor that’s used in mixing to reduce the dynamic range of audio signals. Dynamic range means the difference between the loudest and quietest parts of a sound.
You’ll need to reduce the dynamic range of most signals you record so that both the loud and quiet moments are equally audible in the mix.
Check out our detailed guide to compressors if you need a more in-depth overview to get you up to speed.
The concept seems simple, but there are different ways to implement compression that have different sounds and uses in a mix.
Most of them come from the days of analog hardware. Those classic sounds are still in high demand today.
Plugin manufacturers have developed digital equivalents to bring those timeless tones to your DAW.
Let’s get started.
FET compressor plugins
FET compression is one of the most essential compressor sounds in music.
FET compression is one of the most essential compressor sounds in music.
It stands for “field effect transistor” and it’s the mechanism used in the all-time classic UREI 1176 compressor.
The 1176 has a long and illustrious history and is still used by virtually every professional studio to this day.
FET compression can be fast and aggressive while staying transparent enough to create extreme shifts in dynamics.
It has a pleasing vintage character with satisfying bloom and saturation when pushed.
FET compression is great on percussion, vocals and anywhere you need fast and aggressive yet stylish gain reduction.
Free plugin: Analog Obsession FETISH
Analog Obsession FETISH is an excellent free software 1176-style compressor.
Many independent developers are turning to new methods of distributing their software. Analog Obsesion dev Tunca has moved their entire plugin library to Patreon.
The plugins are still free, but consider getting a subscription if you use them often.
Cheap plugin: Plugin Alliance Lindell 7X-500
At just $29 USD (at the time of this writing) Plugin Alliance’s digital recreation of the popular Lindell 7X-500 series module is a charmingly inexpensive way to get started with FET compression.
This handy FET compressor packs all the snappy attack and analog warmth of the hardware and sounds great anywhere you might use an 1176.
Pro plugin: UAD 1176 Collection
UAD wrote the book on emulating the 1176 in software. Their take on its legacy is still widely respected as the best in the business.
The expanded 1176 collection includes several rare revisions of the original circuit modelled to perfection.
Optical compressor plugins
Optical compressors use photosensitive light cells to control the compression.
It’s one of the earliest methods of controlling gain reduction that’s often found in classic early units.
Optical compression has a particularly musical sounding action due to the physical properties of the photocell.
Optical compression has a particularly musical sounding action due to the physical properties of the photocell.
It’s a little slower and gentler than FET compression with a pleasing feel that works well on many different sources.
The legendary Teletronix LA-2A is an optical compressor with a tube makeup gain stage.
It’s probably the most well known optical compressor and many engineers all-time favorite for vocals.
Here are some great options based on the optical sound of the LA-2A
Free plugin: ADHD Levelling Tool
ADHD Levelling tool is a handy freeware compressor that will bring LA-2A style optical compression into your sessions without breaking the bank.
With additional controls for attack release and threshold, Levelling Tool isn’t exactly a direct clone, but the sonic inspiration is clear.
Cheap Plugin: Waves CLA-2A
Waves CLA-2A has been on the scene for a while now, but it’s still a great option for the smooth optical sound of the LA-2A in your DAW.
Waves plugins are often available on extremely deep discounts from sales and offers.
It’s worth waiting for one to come around if you want to get your hands on the CLA-2A without spending a fortune.
Pro Plugin: Softube CL1B
Softube CL1B is based on Danish manufacturer Tube Tech’s tube-driven take on the optical LA-2A design.
Softube’s recreation is spot on and this pro compressor plugin offers all the weight, heft and tube warmth of the original.
Tube compressor plugins
There are lots of tube compressors out there, but like the LA-2A, not all of them create their gain reduction effect using the tubes themselves.
Creating compression with vacuum tube circuitry alone is possible, but it’s considered much more difficult and expensive than other methods.
That’s why true tube compressors (sometimes called “delta-mu” compressors) are large, bulky and expensive.
The tubes and transformers required to make these processors work are impractical for all but the most serious setups.
But all that iron and tubey goodness results in an incredibly powerful sound.
The most well known all-tube compressor is the vintage Fairchild 670. These classics are so rare and expensive (authentic units have sold for over $100K) that most producers will never even see one, let alone hear it on their tracks.
Luckily, plugin manufacturers have been creating digital recreations of the Fairchild and other beefy sounding tube comps since the dawn of digital.
Creating compression with vacuum tube circuitry alone is possible, but it’s considered much more difficult and expensive than other methods.
Tube compressors sound fantastic in many situations, especially any time you want to enhance the source material with pleasing colouration and saturation.
Free plugin: Klanghelm MJUC jr.
Klanghelm produces a suite of excellent analog modelling plugins for free. MJUC jr. is no exception.
MJUC jr. is the little brother of the highly regarded MJUC delta-mu style compressor. This completely free plugin will get you the tube driven compression tones of the larger version with ease.
It’s hard to imagine that a mixing tool this useful and musical could be available completely free…
Cheap plugin: Arturia TUBE-STA
This stylish delta-mu style compressor has the vibey look—and sound—of the legendary Gates STA-Level hardware unit that dates back to 1956.
This near mythical vintage comp commands the typical high prices of old school tube compressors and is famous for its ability to utterly squash the signal without unpleasant artifacts.
Arturia’s fantastic take on it gives you all the tube texture of the original.
Pro Plugin: UAD Fairchild Collection
Best Vst Plugin For Glue Adhesive
UAD produces some of the most highly regarded digital replicas of analog gear.
With the Fairchild collection, they’ve gone all out, modelling each and every component down to its most idiosyncratic elements.
This is as close as you can get to a real Fairchild in your DAW—and that’s a wonderful thing.
VCA compressor plugins
VCA compressors came on the scene in the 70s with the introduction of integrated circuits (ICs) that could perform gain reduction cheaply and with more predictable results than earlier methods.
This technology gave rise to classic units like the DBX 160 and SSL Bus Compressor.
The SSL Bus Compressor in particular has become a secret weapon on the mix bus for many producers.
It offers a clear and classy sound that enhances punch and impact while providing the “glue” factor that makes a mix sound cohesive and integrated.
Free plugin: Ableton Glue Compressor
I’m cheating a bit here since this is a built-in DAW plugin. But if you’re an Ableton Live Suite user you already have access to an excellent VCA style compressor modelled on the SSL bus comp.
Glue compressor works great for providing that subtle sonic adhesive that holds individual busses and entire mixes together.
Cheap plugin: Cytomic The Glue
Cytomic’s The Glue is another great take on the SSL Bus compressor design.
It’s a lightweight plugin that will give you that classic VCA gain reduction without choking your CPU.
Pro plugin: SSL Native Bus Compressor
If you’re searching for the classic SSL sound, why not go straight to the source?
SSL’s suite of native plugins includes an excellent take on their classic VCA bus compressor design that can give you all the glue, punch and flavor of the original.
Digital Compressor plugins
The sound of analog hardware has an enduring appeal for most engineers.
But that doesn’t mean there aren’t excellent compressors out there with completely digital DNA.
Digital compressors are perfect whenever you want ultra-transparent compression that doesn’t affect the basic sound of the source material.
In fact, the lack of limitations in the digital domain gives developers the freedom to create some ultra high performance compressor plugins.
Digital compressors are perfect whenever you want ultra-transparent compression that doesn’t affect the basic sound of the source material.
Free Plugin: TDR Kotelnikov
TDR Kotelnikov is a legend of the free plugin scene.
This well-designed VST shows off the power of high-fidelity digital compression with a classy sound and deep control.
Cheap plugin: Klanghelm DC8C
Klanghelm DC8C is a chameleon of a compressor plugin that can cover a huge range of different sounds.
With extremely detailed control over nearly every possible aspect of the sound, the sheer flexibility of this compressor makes it a top pick to showcase the power of digital.
Pro plugin: Fabfilter Pro C-2
Fabfilter Pro C-2 is the undisputed king of advanced compression.
This top quality compressor plugin sounds gorgeous and features a user interface that makes even advanced compression features simple to use.
Deep dynamics control
Compressors are extremely important in music production, no matter what genre or style of music you mix or master.
Today there are more plugin compressors available than ever before. Having so many options is great, but sorting through them is a challenge.
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Now that you know some different types of compression and what they’re good for, get back to your DAW and squash some signals.