So, you're beginning your collection of effects pedals and are wondering if it's okay to leave them turned on when they're not in use.

Is it bad/damaging to keep effects pedals on when not in use? Keeping an effects pedal on/powered when it's not in use is typically safe, though it may decrease its overall longevity. If batteries are used for power, they'll be drained. If a power block or daisy chain is used for power, random/accidental power surges increase the risk of damage.

In this article, we'll discuss the multiple reasons why leaving effects pedals powered/on isn't optimal. Though the focus will be on the overall lifespan of the pedals, I'll briefly touch on the slight but notable economic and environmental impacts.

With that, let's get into this article to help you take better care of your music and audio equipment.

Related My New Microphone articles:
• The Ultimate Effects Pedal/Stompbox Buyer’s Guide
• Top 11 Best Guitar/Bass Effects Pedal Brands To Know & Use

A Primer On Effects Pedals & Power

Before we begin our discussion on keeping pedals powered when they're not in use, let's briefly go over why effects pedals need power in the first place.

Please feel free to skip ahead to the section Why Leaving Effects Pedals On/Powered Is A Bad Idea if you wish.

Put simply, effects pedals require power for their active components. Active components range from transistors, operational amplifiers, integrated circuit chips and diodes to the LED indicator lights that tell us whether the pedal is on or off.

These active components are required to effectively produce the effect(s) the pedal is designed for. They also help route the signal, buffer it (adjust impedance) and otherwise maintain adequate signal strength.

Note that there are some passive pedals on the market, but they are rare. In the vast majority of cases, pedals will require power.

Most pedals require 9V (9-volt) power, hence why many pedals have 9V battery compartments. 12V, 18V and 24V are other voltage requirements you may encounter. It's important that we power these pedals with proper power supplies/adapters (wall warts, power blocks, etc.) that match their voltage requirements.

Similarly, pedals will draw a defined amount of electrical current (measured in milliamps “mA”). We must ensure that the power supply can provide as much or more current for the pedal.

A battery will cover these bases, as will the proper adapter for a given pedal. If you decide to daisy chain pedals together, ensure there's enough current to cover all the pedals' current needs.

Additionally, it's worth noting the polarity of the pedal. This refers to whether the centre pin of the pedal's power input is positive or negative. Most guitar pedals will have a negative center pin, but it's worth double-checking to ensure the polarity of the pedal and power source match.

Pedals will draw power when effectively “plugged in,” either via the audio input and/or output connection. Power must be drawn while the pedal is turned on, but it's also necessary when the pedal is bypassed (in true and buffered bypass designs).

To learn more about true and buffered bypass, check out my article What Does ‘True Bypass’ Mean In A Guitar Pedal?

If not, the momentary power-up time as a pedal is switched on/off will have ill effects on the pedal's performance, including short-lived silence, distortion, and even transient clips/pops in the guitar signal. Having constant power is essential for smooth transitions between engaging and disengaging the pedal.

Before we wrap this primer up, let's consider the common methods for powering effects pedals:

• Batteries
• DC adapters “wall warts”
• Daisy chaining
• Dedicated power supply

Powering Effects Pedals With Batteries

Many pedals can be powered by batteries. These pedals will have battery compartments built into their housing. Most often, these will be 9V batteries (since 9V is such a common voltage requirement among pedals).

Some pedals will have alternate battery requirements (the Line 6 DL4 takes four DD batteries, for example). Some smaller pedals may not have an option for batteries whatsoever.

In most designs, the battery will be tapped into so long as the audio input (1/4″ jack) is plugged into. Other designs require the output or both the input and output to be connected. In many designs, the battery will be disengaged once the power input is plugged into.

Note that batteries corrode over time, and I wouldn't recommend storing pedals for any length of time with batteries. I had issues with my own DL4 (mentioned above) after storing it for a few months with corroding DD batteries.

Line 6 is featured in My New Microphone's Top 11 Best Guitar/Bass Effects Pedal Brands To Know & Use.

Powering Effects Pedals With DC Adapter

Many pedals will come with their own dedicated DC adapter, commonly referred to as a “wall-wart.” These adapters connect to the wall sockets and adapt the power mains (in voltage and current) for their particular pedal. Their polarity is, of course, matched to the pedal's polarity design.

These adapters are great for a pedal or two but become cumbersome when dealing with multiple pedals due to the need for an individual socket for each pedal.

Powering Effects Pedals With Daisy Chaining

Daisy-chaining allows one wall wart to power multiple pedals in a row. This takes up less space and requires fewer wall sockets to get power to the pedals.

All the pedals within a single daisy chain must have the same voltage requirements to work together. Additionally, the power source must supply enough current to power all pedals.

Remember that each pedal will draw its own current, so the power source of a daisy chain must be able to supply as much or more current as the sum of all the pedals' current requirements.

Powering Effects Pedals With Dedicated Power Supply

Dedicated pedal power supplies/blocks have isolated connections. Essentially, each DC output of a power block is its own circuit. This cleans up noise between pedals in the power circuit (though there will likely still be noise in the audio signal chain). It also allows a single power supply unit to power pedals with various power requirements.

With that long primer, let's get into the main part of the article.

Why Leaving Effects Pedals On/Powered Is A Bad Idea

Leaving pedals on when not in use isn't ideal. However, it's not the end of the world if you forget to turn them off now and again. That being said, turning the pedals off (unplugging them) is generally a good habit to develop.

Note that by “on/powered,” I mean the pedal is drawing power. As mentioned above, most pedals will draw power so long as their audio input jack is plugged into. Pedals do not only draw power when they are engaged!

There are three primary reasons why leaving effects pedals on isn't ideal:

• Battery drain
• Heat
• Potential power surges

Battery Drain

So long as the pedal is plugged in and relying on batteries for its power, the batteries will be draining.

Remember that, for most pedals, the pedal draws power as soon as the audio input is plugged into. If the pedal isn't connected to a dedicated adapter-type power source, it will draw power from the battery.

So then, keeping a pedal powered will drain its battery. There's no need to continue draining the battery when the pedal isn't in use, so unplugging the pedal is a good idea.

Furthermore, as batteries drain, their voltage slowly drops. There will, of course, be a point where the voltage is too low to power the pedal. However, there will also be a range in which the battery underpowers the pedal, thereby causing the pedal to work at a limited capacity. This will likely alter the signal strength and the actual intended effect of the pedal.

Potential Power Surges

Electrical surges, outages, and brownouts will cause abrupt disengagement of power and large transient spikes as the power is restored. These occurrences are risky and could cause significant damage to the circuitry of the effects pedals if they're connected to the power mains (via their power adapters).

If the pedals are disconnected from power (or powered via batteries), power surges will not have this damaging effect. Avoid this potential issue by disconnecting the pedals when they're not in use.

Of course, power surges can happen when the pedals are in use as well. This is a risk we take regularly. Many dedicated pedal power supplies offer surge protection to add an additional layer of safety for their connected pedals.

Heat

Heat is another concern when powering effects pedals—leaving pedals on while not in use keeps them heated. Furthermore, you can even prevent them from cooling after each use, which could help protect their circuits.

Of course, pedals are built tough (they're known as “stompboxes,” after all). They're often resistant to physical abuse, humidity and heat. However, running electronics hot can potentially reduce their lifespan.

It Is Bad For Your Pocket

Second in line, after being bad for the pedals themselves, is that leaving the pedals powered/on is also bad for your wallet. Though electricity is relatively affordable in most places, it still costs money. Leaving devices on will increase the power bill. Some gear consumes more electric power than others, but they all do when left on.

Idle Power Consumption Is An Issue Worth Addressing

According to a recent study by the Stanford Sustainable Systems Lab, the idle load of homes constitutes 32% of the entire household electricity consumption in the US. That's a lot of wasted energy.

Expanding further, we could save the planet some electricity-generating efforts with simple everyday changes like disconnecting our pedals when they're not in use. All the idle power being wasted must be generated by some other means, some of which are unsustainable.

Conclusion

Leaving effects pedals on when not in use might seem insignificant, but it does add to the bigger picture. For starters, it reduces the lifespan of your gear with heat and hours of use. Secondly, it hurts your pocket because you'll have to replace the equipment sooner and pay for extra electricity.

So, now you know, disconnect your pedals from power before you walk out of the practice space. Even better, consider powering down all the other audio equipment that doesn't absolutely need to be on.

The post Is It Bad/Damaging To Keep Effects Pedals On Or Plugged In? first appeared on My New Microphone and is written by Arthur Fox.

So you're wondering which EQ you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about an audio equalizer.

If you've found yourself asking, “Which EQ should I buy?” this extensive resource is for you.

Please feel free to jump around this article and read all the additional resources I have provided links to.

With that, let's get into this comprehensive audio equalizer/EQ buyer's guide to help you in your next EQ purchase!

Related article: Top 11 Best Audio Equalizer Brands In The World

Table Of Contents

• What Is Your Audio Equalizer/EQ Budget?
• Audio Equalizer/EQ Hardware Vs. Plugins
• Audio Equalizer/EQ Form Factors
• Understanding Filters
• Audio Equalizer/EQ Types/Styles
• Audio Equalizer/EQ Inputs/Outputs
• Passive Vs. Active Audio Equalizers/EQs
• Number Of Bands In The Audio Equalizer/EQ
• Typical Audio Equalizer/EQ Applications
  • Audio Equalizers/EQs For Recording Studios
  • Audio Equalizers/EQs For Live Sound & Public Address
  • Audio Equalizers/EQs For Car Audio
• A Note On Channel Strips

What Is Your Audio Equalizer/EQ Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

Equalizers, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget.

Note that some retailers offer payment plans, which could be an option.

Consider the cost-to-benefit ratio of the purchase of the equalizer unit. For example, if the EQ is needed for business, perhaps stretching the budget is more appropriate. If, on the other hand, you don't plan on making money with the EQ, perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your audio equalizer.

Only you can determine your budget. All I'm here to say is that you should consider it.

Back to the Table Of Contents.

Audio Equalizer/EQ Hardware Vs. Plugins

When choosing an equalizer, it's definitely worth weighing the option between a hardware EQ and an EQ plugin.

Audio plugin technology has come a long way. With the prevalence of digital audio and digital audio workstations (DAWs), EQ plugins can be much more practical than their hardware counterparts.

Equalizer plugins can be original designs, and digital processing and programming have made some of these EQ designs much more powerful and versatile than any hardware design.

In addition to new, exploratory ideas, there are also plenty of plugins on the market that emulate classic hardware designs and performance (right down to the graphic user interface).

One EQ plugin can be inserted on as many audio track inserts as your DAW and CPU can handle, unlike hardware EQ units, which can't be duplicated.

Furthermore, plugins require little upkeep (perhaps an update once in a while) and no physical maintenance. The best part; they are much more affordable than hardware.

That all being said, having a hardware equalizer (or multiple) in your setup is nice. There's something about running audio signals through physical circuits that is both pleasing to the touch and the ear. If you can afford it, I'd recommend looking into a physical hardware EQ.

• Click the link to check out hardware equalizers at Sweetwater
• Click the link to check out hardware equalizers at B&H Photo/Video
• Click the link to check out hardware equalizers on Amazon

• Click the link to check out EQ plugins at Sweetwater
• Click the link to check out EQ plugins at Plugin Boutique
• Click the link to check out EQ plugins at Plugin Fox

Related My New Microphone article:
• Top 11 Best Audio Plugin (VST/AU/AAX) Brands In The World

Back to the Table Of Contents.

Audio Equalizer/EQ Form Factors

Hardware equalizers come in a variety of shapes and sizes. Let's consider the following commonplace EQ form factors:

• Rackmount
• Tabletop
• 500 Series
• Modular Synth
• Modular Console
• Effects Pedals
• Vehicle-Mounted

Rackmount EQs

Rackmount EQs fit into the standard 19″ racks, which are commonly found in recording studios, broadcast studios, and live sound systems.

• Click the link to check out rackmount equalizers at Sweetwater
• Click the link to check out rackmount equalizers at B&H Photo/Video
• Click the link to check out rackmount equalizers on Amazon

Related My New Microphone articles:
• Top 11 Best Audio Studio Equipment Rack Brands On The Market
• Top 11 Best Rackmount Case Brands On The Market

Tabletop EQs

Tabletop EQs come in a variety of shapes and sizes but are all designed to sit on a flat surface rather than to fit into a rack/modular system.

• Click the link to check out tabletop equalizers at Sweetwater
• Click the link to check out tabletop equalizers at B&H Photo/Video
• Click the link to check out tabletop equalizers on Amazon

500 Series EQs

500 Series EQs fit into modular 500 Series chassis. This modular format is common in studios and is a popular choice for mobile recording rigs due to its ease of transportation. The chassis typically provides power and often provides the inputs, outputs and internal routing for its modules.

• Click the link to check out 500 Series equalizer modules at Sweetwater
• Click the link to check out 500 Series equalizer modules at B&H Photo/Video
• Click the link to check out 500 Series equalizer modules at Amazon

Modular Synth EQs

Though not as common as the other form factors, you may come across EQ designed for modular synth formats such as 5U (Moog) or Eurorack.

• Click the link to check out Eurorack equalizer modules at Perfect Circuit
• Click the link to check out Eurorack equalizer modules at Sweetwater

Related My New Microphone articles:
• Top 11 Best Eurorack Module Synth Brands In The World
• Top 11 Best MU (Moog-Unit) Synth Module Brands In The World

Modular Console EQs

Studio/recording, broadcast and live mixing consoles can also be modular. There is a small market for modular EQ units for high-end modular consoles.

Related My New Microphone articles:
• Top 11 Best Mixing Board/Console Brands For Home Studios
• Top 10 Best Studio Recording/Mixing Console Brands
• Top 10 Best Live Sound Mixing Board/Console Brands

Effects Pedal EQs

EQ pedals are relatively common for bassists and guitarists. You'll often find equalizer pedals on pedalboards.

• Click here to check out equalizer pedals at Sweetwater
• Click here to check out equalizer pedals at B&H Photo/Video
• Click here to check out equalizer pedals on Amazon

Related My New Microphone articles:
• What Are EQ Pedals (Guitar/Bass) & How Do They Work?
• Top 11 Best Guitar/Bass Effects Pedal Brands To Know & Use
• Top 11 Best Boutique Guitar/Bass Pedal Brands To Know & Use

Vehicle-Mounted EQs

EQs are also popular inclusions in car audio. Though modern car stereos will offend handle the EQ of the car's audio system, separate EQ units are also available that mount into the vehicle for more direct control over the frequency response.

• Click here to check out car equalizers at Crutchfield
• Click here to check out car equalizers on Amazon

Back to the Table Of Contents.

Understanding Filters

To understand EQ, we must understand the basics of filters. In this section, we'll briefly discuss each of the filter types we'll come across in EQ units/plugins:

• High-Pass Filters
• Low-Pass Filters
• Band-Pass Filters
• Notch Filters
• Bell Filters
• Shelving Filters

High-Pass Filters In EQ

What is a high-pass filter in audio? A high-pass filter (HPF) “passes” the high frequencies above their cutoff frequency while progressively attenuating frequencies below the cutoff frequency. In other words, high-pass filters remove low-frequency content from an audio signal below a defined cutoff point.

To learn more about high-pass filters, check out my article Audio EQ: What Is A High-Pass Filter & How Do HPFs Work?

Low-Pass Filters In EQ

What is a low-pass filter in audio? A low-pass filter (LPF) “passes” the low frequencies below their cutoff frequency while progressively attenuating frequencies above their cutoff. In other words, low-pass filters remove high-frequency content from an audio signal above a defined cutoff point.

To learn more about low-pass filters, check out my article Audio EQ: What Is A Low-Pass Filter & How Do LPFs Work?

Band-Pass Filters In EQ

What is a band-pass filter in audio? A band-pass filter “passes” a band of frequencies (a defined range above a low cutoff frequency and below a high cutoff frequency) while progressively attenuating frequencies below the low cutoff and above the high cutoff.

To learn more about band-pass filters, check out my article Audio EQ: What Is A Band-Pass Filter & How Do BPFs Work?

Notch Filters In EQ

What is a notch filter in audio? A notch filter (aka band-reject or band-stop filter) removes frequencies in a specified band within the overall frequency spectrum. It allows frequencies below the low cutoff frequency to pass along with frequencies above the high cutoff frequency.

To learn more about notch/band-stop filters, check out my article Audio EQ: What Is A Band-Stop Filter & How Do BSFs Work?

Bell Filters In EQ

What is a bell curve filter in audio? A bell curve filter can produce resonance (boost in EQ) or anti-resonance (cut in EQ) around a specified centre frequency. These filters are defined by a central frequency, Q factor (width of the boost/cut) and relative gain.

Shelving Filters In EQ

What is a low-shelf filter in audio? A low-shelf filter is a filter that either boosts (increases amplitude) or cuts (decreases amplitude) frequencies below a certain cutoff frequency. These filters generally have a well-defined transition band and a levelling-off of amplitude in the lower end.

What is a high-shelf filter in audio? A high-shelf filter is a filter that either boosts (increases amplitude) or cuts (decreases amplitude) frequencies above a certain cutoff frequency. These filters generally have a well-defined transition band and a levelling-off of amplitude in the upper end.

To learn more about shelving filters, check out my article: Audio Shelving EQ: What Are Low Shelf & High Shelf Filters?

Back to the Table Of Contents.

Audio Equalizer/EQ Types/Styles

There are plenty of equalizer types on the market, and each of them will apply EQ a bit differently.

In this section, we'll discuss the following EQ types to help you decide which is best for you:

• Graphic EQ
• Parametric EQ
• Semi-Parametric EQ
• Dynamic EQ
• Linear Phase EQ
• Shelving EQ

Graphic EQ

What is graphic audio equalization? Graphic equalization is a style of EQ where predetermined bands, centred around set frequencies with set Q factor values, can be either boosted or cut. The name comes from the fact that the EQ settings of a graphic EQ unit typically look very obvious and “graphic”.

The graphic nature of graphic EQs makes them rather easy to use—what you see is what you get. There are no back menus to scroll through and no frequency dialling. The frequencies are set, and it's simple to adjust them visually to our needs.

Graphic EQ units are popular in live sound systems when “tuning the room” is required. Audible feedback can be an issue, and a quick dip in one or more of the graphic EQ bands is often all we need to eliminate such feedback.

Graphic EQ is also popular in inline instrument EQs such as effects pedals. Again, they're easy to dial in and visually represent the resulting EQ curve.

• Click the link to check out graphic equalizers at Sweetwater
• Click the link to check out graphic equalizers at B&H Photo/Video
• Click the link to check out graphic equalizers on Amazon

For more information on graphic EQ, check out the following article:
• The Complete Guide To Graphic Equalization/EQ

Parametric EQ

What is parametric audio equalization? Parametric EQ offers full customization of the frequency bands, including the choice of filter type, centre frequency, Q factor value and relative gain (boost/cut).

Parametric equalizers are very flexible in their operation. Common parametric EQ parameters include:

• Centre frequency of mid bands
• Gain (boost/cut)
• Q
• Cutoff frequency of low-pass and high-pass filters
• Slope of the low-pass and high-pass filters (not on all models)
• Filter selection (low-pass or high shelf; high-pass or low shelf, etc.)

With parametric EQ, we can sweep the frequency of a parametric EQ and set it exactly where we need it to be. We can also control the Q parameter and, of course, the amount of gain.

Parametric EQs are common in studio EQ units and console channel strips. Parametric EQ is also one of the most popular types of EQ plugins.

• Click the link to check out parametric equalizers at Sweetwater
• Click the link to check out parametric equalizers at B&H Photo/Video

For more information on parametric EQ, check out the following article:
• The Complete Guide To Parametric Equalization/EQ

Semi-Parametric EQ

What is semi-parametric audio equalization? Semi-parametric EQ (sometimes referred to as quasi-parametric EQ) offers some, but not all, of the customization of a parametric EQ. The customization of the frequency bands could include the choice of filter type, centre frequency, Q factor value and relative gain (boost/cut).

Semi-parametric EQ is perhaps more common than true parametric EQ in hardware units. Many equalizers will offer some fully parametric bands and some semi-parametric bands.

Semi-parametric EQ is common in mixers, consoles, pedals, plugins, and more.

• Click the link to check out semi-parametric equalizers at Sweetwater
• Click the link to check out semi-parametric equalizers at B&H Photo/Video

For more information on semi-parametric EQ, check out my article What Is Semi-Parametric Equalization/EQ In Audio?

Dynamic EQ

What is dynamic audio equalization? Dynamic EQ is a type of equalization where the EQ of certain frequencies is triggered dynamically as those frequencies surpass a set amplitude threshold in the audio signal. Dynamic EQ, like a compressor, will have threshold, attack and release settings to alter the EQ of a signal dynamically.

Though there are dynamic EQ hardware units, this style of equalization is easier to achieve in plugins. Therefore, most dynamic EQs will be plugins. These EQs are generally based on parametric designs.

By introducing dynamics to the EQ process, these equalizers will be far from static and react differently to different frequency bands. The boosts and cuts of the EQ are triggered by the dynamics of the input signal (much like a compressor) and react accordingly by adjusting the EQ of the signal dynamically.

Dynamic EQ is often substituted for multiband compression in a mix. It is also used to EQ tracks for more dynamic excitement.

• Click the link to check out dynamic equalizers at Sweetwater
• Click the link to check out dynamic equalizers at B&H Photo/Video

For more information on dynamic EQ, check out the following article:
• The Complete Guide To Dynamic Equalization/EQ

Linear Phase EQ

What is a linear phase equalizer? A linear phase EQ is a type of equalization that does not alter the phase relationship of the source. There is no phase shift, and, therefore, the phase is “linear”. Achieving linear phase is not possible with analog circuits and has been made possible with computer coding.

By EQing a signal without changing its phase, there will be no unseen resonances or dips in the overall frequency response.

The phase changes/cancellations apparent in typical “minimum phase EQs” tend to affect the frequency response around the set frequency points of the EQ, thereby altering the response in ways unintended by the controls.

Note that the phase changes and the resulting weirdness around the EQ band increase as steeper roll-off or Q values increase.

Linear phase EQs are made possible thanks to digital signal processing (DSP). These filters effectively analyze the frequency content of a signal and apply gain to the appropriate frequencies via FIR (finite impulse response) filters to eliminate any phase-shifting that arises.

This high demand for processing means linear phase EQs are only practical in plugin programs.

Linear phase EQ is a superb choice for surgical EQ tasks where steep roll-offs and notch filters are required.

The side-effect of pre-ringing (where an echo will precede the intended output, particularly if this signal has strong transients) makes linear EQ a relatively poor choice for general EQ on percussive tracks.

• Click the link to check out linear phase equalizers at Sweetwater
• Click the link to check out linear phase equalizers at B&H Photo/Video

For more information on linear phase EQ, check out the following article:
• The Complete Guide To Linear Phase Equalization/EQ

Shelving EQ

What is shelving equalization? Shelving eq utilizes high and/or low shelf filters to affect all frequencies above or below a certain cutoff frequency, respectively. Shelving can be used to either boost/amplify or cut/attenuate and affects all frequencies equally beyond a certain point.

Shelving EQ is common in home and car stereo systems, in music playback systems, and in consumer-grade audio systems that offer EQ. Think of these controls as “bass” and “treble.”

• Click the link to check out shelving equalizers at Sweetwater
• Click the link to check out shelving equalizers at B&H Photo/Video

Back to the Table Of Contents.

Audio Equalizer/EQ Inputs/Outputs

Many audio devices have rather extensive I/O possibilities (audio interfaces and AV receivers, for example). Equalizers are much simpler and typically only have audio inputs and outputs.

The connections for these audio inputs and outputs may differ depending on the equalizer and its applications:

• XLR-F 3-pin
  • balanced line level audio (pro audio EQs)
• 1/4″ (6.35mm) jack
  • TS: unbalanced instrument level (EQ pedals and modular synth EQs)
  • TRS: balanced line level audio (pro audio EQs)
• 1/8″ (3.5mm) jack
  • TS: unbalanced instrument level (modular synth EQs)

EQs are often either mono or stereo. Mono EQs will have a single input channel and a single output channel, while stereo EQs will have 2 channels (left and right).

Note that some stereo EQs have mid-side processing. The M/S matrix will be incorporated into the EQ (to split the stereo input into mid and side channels for processing, and then back into left and right channels after processing), so the inputs and outputs will remain stereo (left and right channels).

Back to the Table Of Contents.

Passive Vs. Active Audio Equalizers/EQs

There are plenty of audio devices that can be passive or active (speakers, mixers, equalizers). Most often, the terms refer to whether the device requires power (making it active) or not (making it passive).

When it comes to equalizers, the terms passive and active are in reference to the filters used within the EQ. Note that practically all EQs will require power to function properly.

Passive filters are made exclusively of passive components (resistors, capacitors, inductors, etc.).

Because there is no gain stage within a passive filter, the output is always lower than the input as the signal passes through the circuitry and frequencies are filtered out. Furthermore, there's no impedance correction/buffer in a passive filter system, meaning that the source feeding to EQ will likely alter the EQ's performance.

The greater the order (the steeper the filter), the worse the signal attenuation.

For all the signal loss, “passive” EQs will have a gain stage after the filters apply makeup gain and return the signal to a healthy level similar to the input.

Active filters include active components (op-amps are the most common active components).

These active components allow for unity gain (amplitude in equals amplitude out) and also act as buffers to improve the consistency of the filter performance (the connected source and load will have little impact on the filter's performance).

Active EQs have inherent distortion in their filters, but despite this fact, they're often more consistent. They have an easier time boosting signal and can have more aggressive filter cutoffs and resonances without severe signal degradation.

Passive EQs are often cherished for their character (especially those with tube makeup gain stages).

Though the filters produce less inherent distortion, passive EQs are typically more coloured due to the passive components and lack of impedance buffering. They're also typically gentler and/or wider in their abilities since higher-order filters (steeper roll-offs and Q values) are impractical.

Digital EQ is technically active as well, though EQ algorithms are completely different than physical filters. As discussed with dynamic and linear phase EQ, digital programming can achieve much more than active and passive circuits!

• Click the link to check out passive equalizers at Sweetwater
• Click the link to check out passive equalizers at B&H Photo/Video

Back to the Table Of Contents.

Number Of Bands In The Audio Equalizer/EQ

When choosing your next EQ, it's important to consider the number of bands.

Each band in an EQ is its own filter, which can adjust the overall tone and frequency content of a signal.

The more bands, the more precise and complex the EQ graph can be. More bands also tend to mean a higher price point, though the price is also relative to the EQ type (graphic EQ bands are less expensive than parametric bands, for example).

Graphic EQs tend to have the most bands, though these bands are at fixed frequencies and often fixed Q values. Of course, the more bands available, the higher the resolution of the resulting equalization graph.

Parametric and semi-parametric EQs can be tricky. Make sure you know how many full parametric, semi-parametric, shelving, and HPF and LPF there are before making a decision.

Many EQ plugins will offer more bands than we'll typically need. Consider these EQs if you need precise and/or complex EQ graphs.

If you only need general bass, mids and treble controls, consider a simple 3-band EQ.

Back to the Table Of Contents.

Typical Audio Equalizer/EQ Applications

• Recording Studios
• Live Sound & Public Address
• Car Audio

Audio Equalizer/EQ For Recording Studios

Recording studios, where audio mixing and mastering take place, will often benefit from having the widest variety of equalization possible.

Many consoles have been designed with semi-parametric or parametric EQs, which allow for finer tuning of EQ.

Graphic EQs aren't as common but are useful in adjusting an overall mix and/or tweaking the room acoustics.

Linear phase EQ is a superb tool for surgically removing problem frequencies in individual tracks and mixes.

Dynamic EQ is useful in various situations, helping to shape the tone of a track while also controlling its dynamics.

Shelving EQ is used in mixing to brighten tracks, move them forward or back in the mix's depth, and enhance or reduce the low-end of tracks without completely eliminating low-end information.

In modern studios, EQ plugins often reign supreme, with hardware EQs often only tasked with recording signal chains and master bus processing.

Audio Equalizer/EQ For Live Sound & Public Address

When it comes to live sound, graphic equalizers are very popular tools. They help “tune the room” by easily cutting the problem/resonant frequencies of the acoustic space.

They're also typically outboard units, making it easy to see and adjust the overall EQ on the fly, rather than scrolling through menus on a digital board or reaching for EQ knobs on an analog board.

As for the live mixing consoles, digital EQs in digital boards are superb (typically parametric). Analog boards will generally offer a semi-parametric EQ in each of the channel strips.

Audio Equalizer/EQ For Car Audio

Car audio EQ is often handled by the stereo, with bass, mids and treble controls.

However, dedicated car equalizers do exist and are typically graphic or have fixed frequencies.

Back to the Table Of Contents.

A Note On Channel Strips

A channel strip technically refers to a single channel on a mixing console, though channel strips can be purchased as standalone, modular, and software units.

Channel strips generally have a mic input and mic preamp and can also include instrument (Hi-Z) and line inputs. There are plenty of channel strips that offer an EQ section as well.

In addition to EQ, channel strips may also feature compression, gates, and even more, depending on the model. They're designed to offer all the basic signal processes we'd need to record superb audio at the source.

Like equalizers, channel strips come in a variety of formats. These formats include modular form factors for specific modular mixing consoles, 500 Series, desktop, and rackmount units. Channel strip plugins are also available for digital audio workstations.

• Click the link to check out channel strips at Sweetwater
• Click the link to check out channel strips at B&H Photo/Video
• Click the link to check out channel strips on Amazon

Back to the Table Of Contents.

The post The Ultimate Audio Equalizer/EQ Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

So you're wondering which dynamic range compressor you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about a compressor.

If you've found yourself asking, “Which compressor should I buy?” this extensive resource is for you.

Please feel free to jump around this article and read all the additional resources I have provided links to.

With that, let's get into this comprehensive audio compressor buyer's guide to help you in your next compressor purchase!

Related article: Top 11 Best Audio Compressor Brands In The World

Table Of Contents

• What Is Your Audio Compressor Budget?
• Compressors Vs. Limiters
• Audio Compressor Hardware Vs. Plugins
• Audio Compressor Form Factors
• Understanding Compression
• Compressor Circuit Types
• Compressor Features & Styles Of Compression
• Compressor Inputs/Outputs
• A Note On Channel Strips

What Is Your Audio Compressor Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

Compressors, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget.

Note that some retailers offer payment plans, which could be an option.

Consider the cost to benefit ratio of the purchase of the compressor. For example, if the compressor is needed for business, perhaps stretching the budget is more appropriate. On the other hand, if you don't plan on making money with the compressor, perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your dynamic range compressor.

Only you can determine your budget. All I'm here to say is that you should consider it.

Back to the Table Of Contents.

Compressors Vs. Limiters

Before getting too far into this article, let's quickly discuss the differences between compressors and limiters.

Though both processes act to reduce the dynamic range of an audio signal/track, modern-day compression and limiting aren't exactly the same.

Compression is the process of reducing signal levels above a set threshold by a defined ratio. It is according to the ratio that the level is reduced above the threshold. For example, a 4:1 compressor ratio means that for every 4 dB, the signal goes above the threshold at the input, and the output signal level is only 1 dB above the threshold.

Limiters originally came about as compressors with high ratios (20:1, for example).

The original limiter units acted to clamp down hard on the signal, making it impractical to have an output much higher than the threshold (imagine having to go 20 dB above the threshold to get +1 dB at the output and how squashed the resulting audio would sound).

Because limiters effectively limited the output level to just above the threshold, they became useful for keeping signal levels safe and preventing overload in audio equipment in recording studios, broadcast studios, and other audio applications.

Modern limiters are often designed with ∞:1 ratios, which means they stop the signal from surpassing the defined threshold (assuming fast enough attack times). These limiters are regularly used in digital audio settings to ensure the signal levels never surpass 0 dBFS, which would lead to digital clipping.

So, if we see the term “limiter” or “limiting amplifier,” know that it could be a hard limiter (in the modern sense) or act more like a compressor with a very high ratio (in the original sense).

Back to the Table Of Contents.

Audio Compressor Hardware Vs. Plugins

When choosing a compressor, it's definitely worth weighing the option of a hardware compressor and a compressor plugin.

Audio plugin technology has come a long way. With the prevalence of digital audio and digital audio workstations (DAWs), plugin compressors can be much more practical than their hardware counterparts.

Compressor plugins can be original designs, and digital processing and programming have made some of these compressor designs much more powerful and versatile than any hardware design.

In addition to new, exploratory ideas, there are also plenty of plugins on the market that emulate classic hardware designs and performance (right down to the graphic user interface).

One compressor plugin can be inserted on as many audio track inserts as your DAW and CPU can handle, unlike hardware compressor units, which can't be duplicated.

Furthermore, plugins require little upkeep (perhaps an update once in a while) and no physical maintenance. The best part; they are much more affordable than hardware.

That all being said, having a hardware compressor in your setup is nice. There's something about running audio signals through physical circuits that is both pleasing to the touch and the ear. If you can afford it, I'd recommend looking into a physical hardware compressor.

• Click the link to check out hardware compressors at Sweetwater
• Click the link to check out hardware compressors at B&H Photo/Video
• Click the link to check out hardware compressors on Amazon

• Click the link to check out compressor plugins at Sweetwater
• Click the link to check out compressor plugins at Plugin Boutique
• Click the link to check out compressor plugins at Plugin Fox

Related My New Microphone article:
• Top 11 Best Audio Plugin (VST/AU/AAX) Brands In The World

Back to the Table Of Contents.

Audio Compressor Form Factors

Hardware compressors come in a variety of shapes and sizes. Let's consider the following commonplace compressor form factors:

• Rackmount
• Tabletop
• 500 Series
• Modular Synth
• Modular Console
• Effects Pedals

Rackmount Compressors

Rackmount compressors fit into the standard 19″ racks, which are commonly found in recording studios, broadcast studios, and live sound systems.

• Click the link to check out rackmount compressors at Sweetwater
• Click the link to check out rackmount compressors at B&H Photo/Video
• Click the link to check out rackmount compressors on Amazon

Tabletop Compressors

Tabletop compressors come in a variety of shapes and sizes but are all designed to sit on a flat surface rather than to fit into a rack/modular system.

• Click the link to check out tabletop compressors at Sweetwater
• Click the link to check out tabletop compressors at B&H Photo/Video

500 Series Compressors

500 Series compressors fit into modular 500 Series chassis. This modular format is common in studios and is a popular choice for mobile recording rigs due to its ease of transportation. The chassis typically provides power and often provides the inputs, outputs and internal routing for its modules.

• Click the link to check out 500 Series compressors at Sweetwater
• Click the link to check out 500 Series compressors at B&H Photo/Video
• Click the link to check out 500 Series compressors on Amazon

Modular Synth Compressors

Though not as common as the other form factors, you may come across compressors designed for modular synth formats such as 5U (Moog) or Eurorack.

• Click the link to check out Eurorack compressor modules at Perfect Circuit
• Click the link to check out Eurorack compressor modules at Sweetwater

Modular Console Compressors

Studio/recording, broadcast and live mixing consoles can also be modular. There is a small market for modular compressor units for high-end modular consoles.

Effect Pedal Compressors

Compressor and sustainer pedals are relatively common for bassists and guitarists. You'll often find compressor pedals on pedalboards.

• Click here to check out compressor pedals at Sweetwater
• Click here to check out compressor pedals at B&H Photo/Video
• Click here to check out compressor pedals on Amazon

Back to the Table Of Contents.

Understanding Compression

It's useful to understand how compression works in advance of purchasing a new compressor. In this section, we'll run through the typical controls to watch out for when reading up on a prospective compressor.

The typical compressor parameters include:

• Threshold
• Ratio
• Attack Time
• Release Time
• Knee
• Makeup Gain
• Auto-Gain
• Metering
• Lookahead
• Stereo Linking

Compressor Threshold

What is the threshold of a compressor? The threshold of a compressor is a set amplitude limit that dictates when the compressor will engage and disengage. As the input exceeds the threshold, the compressor kicks in (with its given attack time). As the input drops back down below the threshold, the compressor disengages (according to its release time).

Choosing a compressor with a large, adjustable threshold control will ensure that it will work with a greater number of input signal levels.

If you opt for a compressor with a small range of threshold control or no threshold adjustments whatsoever, you'll have to do more work in the gain staging of the signal before it reaches the compressor's input.

To learn more about compressor threshold controls, check out my article Dynamic Range Compression: What Is The Threshold Control?

Compressor Ratio

What is the ratio of a compressor? The compressor ratio compares the number of decibels the input signal is above the threshold to the number of decibels the output signal is above the threshold. In other words, it is the relative amount of attenuation the compressor will apply to the signal.

Put differently, compressor ratio is defined as [input signal dB above the threshold] : [output signal dB above the threshold].

More ratio controls mean more versatility in the process of dynamic range compression. Compressors may have switches between defined ratios (typically integer multiples) or a continuous dial that adjusts the ratio.

If the compressor offers high ratios (20:1 to ∞:1), it can practically act as a limiter.

Remember that lower ratios mean gentler compression and higher ratios mean a more compressed or “squashed” sound.

Suppose it happens to offer ratios below 1:1. In that case, it offers what is known as “upward compression,” which is a type of compressor that boosts the amplitude of a signal below a certain threshold and keeps the amplitude the same above the threshold.

This type of compression is available in digital plugins and can also be achieved via parallel compression with hardware or software.

To learn more about compressor ratio controls, check out my article Dynamic Range Compression: What Is The Ratio Control?

Compressor Attack Time

What is the attack time of a compressor? The attack time is the amount of time it takes for a compressor to engage/react once the input signal amplitude surpasses the threshold.

Choosing a compressor with fast attack values (<10 ms) will cause the compressor to act faster, which can lead to a thicker compression sound at the expense of transient reduction.

Choosing a compressor with slow attack values (>10 ms) will allow the track to breathe a bit while helping to shape transients. However, slower attacks aren't so good at controlling dynamics and may contribute to audible pumping.

For the most versatility, look for a compressor with slow and fast attack times if possible.

Compressor Release Time

What is the release time of a compressor? The release time is the amount of time it takes for the compressor to disengage (to stop attenuating the signal) once the input signal drops below the threshold.

Choosing a compressor with fast release values (dependent on the rhythmic transients of the tracks or roughly <30 ms) will cause the compressor to disengage faster. This can sound more natural if the compressor isn't applying too much gain reduction, but it can quickly start pumping if the gain reduction is more aggressive.

Choosing a compressor with slow release values (dependent on the rhythmic transients of the tracks or roughly >30 ms) will cause the compressor to disengage slower. This will help smooth out dynamics but may override the following transients that could re-trigger the compressor from 0 dB reduction.

If the release time is too slow, it may have the effect of pushing the track further back in the mix by killing transients.

For the most versatility, look for a compressor with slow and fast release times if possible.

Some compressors offer auto-release settings, which aim to set the release time to a value that releases fast enough to catch following transient information and slow enough to keep the signal from pumping.

To learn more about compressor attack and release time controls, check out my article Dynamic Range Compression: Attack & Release Controls.

Compressor Knee

What is the knee of a compressor? The compressor's knee refers to the transition point around the compressor's threshold where the output becomes attenuated versus the input. A hard knee offers a more distinct triggering of the compressor, while a soft knee allows for a smoother and more gradual transition to compression.

Compressor knee is often a characteristic of the gain reduction circuit itself, but some compressors offer adjustable knee values.

A hard knee will immediately engage the compressor (it's still subjected to its attack time) as the signal surpasses the threshold.

Similarly, it will disengage the compressor (it's still subjected to its release time) immediately as the signal drops back below the threshold. Harder knee values cause more aggressive compression, which is great for more transient material (percussion, for example).

A softer knee will engage the compressor slightly before the threshold and roll the curve so that the full ratio is only achieved past the threshold. Softer knee values cause smoother compression, which is often better for less dynamic material (vocals, for example).

If you're looking for versatility, a switchable soft/hard or continuously variable knee control will grant you some extra flexibility.

If this parameter is not present, consider the gain reduction circuitry (or emulation) to gather information on the typical knee values associated with such GR circuits—more on this later in the section Compressor Circuit Types.

To learn more about compressor knee controls, check out my article Dynamic Range Compression: What Is The Knee Control?

Compressor Makeup Gain

What is the makeup gain of a compressor? The makeup gain of a compressor is the gain applied to the signal after the compression takes place. Makeup gain is typically used to bring the peaks of the compressed signal up to the same level as the peaks pre-compression, thereby maintaining the same peak level while raising the overall level.

Makeup gain is a great control for compressors to provide the user with another gain stage for output level control. This is especially useful for A/Bing the compressor effect by having the output at the same set level.

To learn more about compressor makeup gain controls, check out my article Dynamic Range Compression: What Is The Makeup Gain Control?

Compressor Auto-Gain

What is auto-gain in a compressor? Compressor auto-gain is a feature that automatically applies the proper amount of makeup gain to bring the peaks of the compressed signal up to the same level as the peaks of the input signal. It effectively applies makeup gain to match the gain reduction of the compressor.

This feature is useful for automatically adjusting the makeup gain, making the compressor more convenient.

Compressor Metering

What is compressor metering? There are typically three meters in a compressor that will show users the input level, amount of gain reduction and the output level of the compressor. Some compressors also offer a graphical analysis of the input vs. output levels, complete with threshold, ratio and knee indicators.

Though the best advice I can give is to use your ears when making audio decisions, I must admit that visual monitoring aids are extremely valuable.

If the compressor has input and output level monitors, it makes adjusting makeup gain super easy. Gain reduction monitoring allows us to see when the compressor is working and by how much. It's also useful to associate certain sonic performances with defined settings and gain reduction values.

Compressor Lookahead

What is compressor lookahead? Lookahead is a control that allows a compressor to “see” the input signal before it is processed to handle transient information better and maintain a smooth attack. Lookahead is achieved by duplicating and delaying the incoming signal, using the first signal as a sidechain.

Lookahead control isn't super common in compressors (though it's super useful in limiters). However, it's a feature worth considering when shopping for a new compressor since it can help smooth out the compression and catch particularly intense transients.

To learn more about compressor lookahead controls, check out my article Dynamic Range Compression: What Is The Lookahead Control?

Compressor Stereo Linking

What is stereo linking in a compressor? Stereo linking is a method for stereo compressors (or dual-mono compressors) to act on both channels of a stereo audio signal at once. If either of the stereo channels exceeds the threshold, the compressor will engage and attenuate both channels. This is a method to avoid tilting the stereo image.

Stereo linking is a superb feature to look for in stereo compressors. By linking the stereo signals, the same amount of compression will be applied to each channel (left and right). Compressing both channels the same way will lead to a more balanced stereo image in the compressor output.

Having the ability to engage and disengage stereo linking will offer the most versatility, depending on your goals. Perhaps you're using the stereo compressor as a two-channel compressor with two independent mono tracks, for example. In that case, stereo linking would not be advisable.

Back to the Table Of Contents.

Compressor Circuit Types

There are plenty of compressor types (gain reduction circuits) on the market, and each of them will perform the process of dynamic range compression a bit differently. Each type tends to have some identifiable characteristics, though no two compressor models are exactly the same, even if they share the same GR circuit type.

In this section, we'll discuss the following compressor types to help you decide which is best for you:

• Variable-Mu (Tube) Compressors
• FET Compressors
• Optical Compressors
• VCA Compressors
• Diode Bridge Compressors
• Pulse Width Modulation Compressors
• Digital Compressors

In addition to the written content below, I also have a video describing the seven different compressor circuit types (the first seven from the list above). You can check that out below:

Variable-Mu (Tube) Compressors

What is a variable-mu compressor? A variable-mu (variable gain) compressor is an analog compressor centred around a vacuum tube. As the input signal increases, the current sent to the grid of the tube decreases, which results in a reduction in the overall level.

Characteristics of a variable-mu (tube) compressor:

• Relatively slow attack and release times
• Slight harmonic distortion
• Soft knee
• Program-dependent ratio
• Fewer parameter controls
• Feedback sidechain circuit

• Click here to check out variable-mu compressors at Sweetwater
• Click here to check out variable-mu compressors at B&H Photo/Video

For more information on variable-mu compressors, check out the following article:
• What Is A Variable-Mu (Tube) Compressor & How Does It Work?

FET Compressors

What is a FET compressor? A FET compressor is an analog compressor that utilizes a field-effect transistor at the core of the circuit. These compressors are fast-acting and offer greater transient preservation than other types of compressors.

Characteristics of a FET compressor:

• Very fast attack and release times
• Non-linear compression that adds character via harmonic distortion
• Additional saturation due to the inclusion of transformers
• Requires low-level input signals
• Requires more output gain, which often raises the noise floor
• Feedback sidechain circuit

• Click here to check out FET compressors at Sweetwater
• Click here to check out FET compressors at B&H Photo/Video

For more information on FET compressors, check out the following article:
• What Is A FET Compressor & How Does It Work?

Optical Compressors

What is an optical compressor? An optical compressor is an analog compressor that uses a light element and optical cell to alter the dynamics of an audio signal. As the amplitude of the audio signal increases, the light element emits more light and causes the optical cell to attenuate the amplitude of the output signal.

Characteristics of an optical compressor:

• Generally low distortion due to LDR
• Relatively slow attack and release times
• Non-linear attack and release controls
• Frequency-dependent attack
• Transparent sound
• Feedback sidechain circuit

• Click here to check out optical compressors at Sweetwater
• Click here to check out optical compressors at B&H Photo/Video

For more information on optical compressors, check out the following articles:
• What Is An Optical Compressor & How Does It Work?
• Top 10 Best Optical Compressor Emulation Plugins

VCA Compressors

What is a VCA compressor? A VCA (voltage-controlled amplifier) compressor is an analog compressor that utilizes a VCA control to apply compression. The input signal is split through an integrated circuit into a detector path (to control the VCA compression) and an output path.

Characteristics of a VCA compressor:

• Very low distortion
• Flexible threshold, ratio, attack, release and (sometimes) knee parameter controls
• Transparent sound
• Feedback or feed-forward sidechain circuit

• Click here to check out VCA compressors at Sweetwater
• Click here to check out VCA compressors at B&H Photo/Video

For more information on VCA compressors, check out the following article:
• What Is A VCA Compressor & How Does It Work?

Diode Bridge Compressors

What is a diode bridge compressor? A diode bridge compressor is an analog compressor that utilizes pairs of diodes in a balanced bridge configuration to apply variable attenuation (compression) to the input signal.

Characteristics of a diode bridge compressor:

• Very fast attack and release times
• Non-linear compression that adds character via harmonic distortion
• Requires low-level input signals
• Requires more output gain, which often raises the noise floor
• Feedback sidechain circuit

• Click here to check out diode bridge compressors at Sweetwater
• Click here to check out diode bridge compressors at B&H Photo/Video

For more information on diode bridge compressors, check out my article What Is A Diode Bridge Compressor & How Does It Work?

Pulse Width Modulation Compressors

What is a pulse width modulation compressor? A PWM compressor is a type of compressor that utilizes pulse width modulation to effectively alter the amplitude of the input signal, thereby compressing it. Altering the parameters will alter the PWM system to control the amount of compression.

Characteristics of a pulse width modulation compressor:

• Very fast attack and release times
• Very transparent
• Flexible parameter controls
• Feedback of feed-forward sidechain circuit

• Click here to check out PWM compressors at Sweetwater
• Click here to check out PWM compressors at B&H Photo/Video

For more information on PWM compressors, check out my article What Is A Pulse Width Modulation Compressor & How Does It Work?

Digital Compressors

What is a digital dynamic range compressor? A digital compressor is a digital signal processor that produces the effect of compression on a digital audio signal. Many digital compressor plugins and software aim to emulate their analog counterparts.

Characteristics of a pulse width modulation compressor:

• Fast or slow attack and release times
• Clean or saturated processing
• Soft or hard knee
• Program-dependent or defined ratio
• Greatest number of parameter controls
• Feedback or feed-forward sidechain circuit

Back to the Table Of Contents.

Compressor Features & Styles Of Compression

Now that we know the different types of compressors and the typical controls, let's consider the general applications of compressors and the features we may come across.

When choosing a compressor to purchase, consider the following applications and features: how often you'll need/use these features in your application and how well the compressor in question will suit your needs.

In this section, we'll discuss the following:

• Bus Compression
• Multiband Compression
• Sidechain Compression
• Parallel Compression
• Series Compression
• Peak Vs. RMS Compression
• Feedback Vs. Feed-forward Compression
• Upward Compression
• De-Essing

Bus Compression

The “bus” in the bus compressor is generally the master bus of the mixer/console or DAW. These buses are typically stereo (having a left channel and a right channel) and often benefit greatly from “bus compression.”

Bus compression is often gentle in terms of its threshold, ratio, attack, release and even knee parameters. The trick is not to squash the dynamic range as much as it is to bring out nuances and add depth, colour and subtle movement to the track while helping to maintain a consistent level throughout the mix and avoid overloading.

There are plenty of stereo compressors on the market that are marketed as bus compressors. Look for a stereo compressor with a pleasing sound and the characteristics and parameters listed in this section.

• Click here to check out bus compressors at Sweetwater
• Click here to check out bus compressors at B&H Photo/Video

Multiband Compression

What is multiband compression? Multiband dynamic range compression is a type of processing that splits the frequency spectrum into different bands and compresses each band with its own unique compression settings.

A multiband compressor can be thought of as several compressors in one, with each compressor acting on its own defined band of frequencies. Each band will generally have its own set of parameters, including threshold, ratio, attack, release and makeup gain.

MB compressors may be intimidating, but they are excellent tools for individual tracks and buses alike when used correctly. They can be set up to handle transients appropriately in defined frequency bands, reducing the pumping that may be caused fro excess energy in certain bands.

• Click here to check out multiband compressors at Sweetwater
• Click here to check out multiband compressors at B&H Photo/Video

To learn more about multiband compression, check out the following article:
• What Is Multiband Compression & How Do MB Compressors Work?

Sidechain Compression

What is sidechain compression? Sidechain compression is a type of compression where the compressor acts to compress a track but is controlled by another track (the external sidechain). As the controlling signal surpasses the set threshold, the compressor attenuates the sidechained signal.

Technically, all compression utilizes a sidechain signal, though this signal is typically derived from the input signal.

If the compressor has an external sidechain input, it means that a separate signal can control the gain reduction circuit that acts upon the compressor's input signal.

Sidechain compression can really bring a mix to life, adding subtle colour and movement while “auto-mixing” certain elements together.

Sidechaining is also a popular mix technique made famous/infamous by the aggressive sidechaining to the kick of various elements in certain electronic music genres/mixes.

Consider a model with a sidechain high-pass filter if you're looking for a compressor with external sidechain capabilities. The low end of a sidechain signal may cause unwanted triggering of the compressor, and high-passing the signal can ameliorate this unwanted compression.

Parallel Compression

What is parallel compression? Parallel compression (also known as New York or Manhattan compression) is a technique where one audio track (or several) is sent to a bus, which is heavily compressed. Both versions of the audio are then mixed together to achieve a punchy sound without losing the dynamic of the dry signal(s).

Parallel compression can easily be achieved by duplicating a track to a bus and compressing one copy hard while leaving the other unaffected. However, a compressor with parallel functionality (mix control) is more convenient.

Series Compression

What is serial compression? Serial compression is the practice of using multiple compressors in series (one after the other) to combine desirable attributes from different compressors, lighten the workload on any particular compressor, and ultimately progress through an audio mix.

Serial compression is essentially the process of sending an audio track through multiple compressors, one after the other. A single hardware compress will generally only offer one compression stage, though two or more hardware compressors are perfectly capable of serial compression.

Generally speaking, each compression stage should have moderate settings. Oftentimes, two different compressor types will be used to add two different styles of compression. For instance, a FET compressor could tame the peaks before a variable-mu compressor smoothes out the signal.

Though serial compression is a technique that can be used on individual tracks, it's much more common in mixing at various bus stages. For example, a kick drum can be compressed at its track, at its drum mix bus, and the master mix bus.

Serial compression is made easy with compressor plugins, which can be used in multiple instances within a digital audio workstation.

Peak Vs. RMS Compression

What is peak compression? Peak compression means that the compressor will react according to the peak of the input or sidechain signal. As the peak of the compressor control exceeds the threshold, the compressor will kick in.

What is RMS compression? RMS (root mean square) compression means that the compressor will react according to the “average loudness” of the input or sidechain signal. As the “average” of the compressor control exceeds the threshold, the compressor will kick in.

Peak compression tends to be more aggressive when engaged, though audio peaks are typically more short-lived than RMS values, so that peak compressors will engage and disengage more rapidly. Peak compression is a superb choice for transient-heavy material like drums.

Limiters, which are often tasked with maintaining a maximum output level, are typically peak-controlled.

RMS compression is often more subtle and longer-lasting (given the same attack/release times) than peak compression, making it a superb choice for non-percussive instruments, singing and mix buses. However, because it only acts upon the average amplitude, RMS compression can potentially miss transient peaks in a signal completely.

If you're looking for versatility, a few compressor options on the market offer both peak and RMS metering.

To learn more about peak and RMS metering, check out my article Peak Vs. RMS Dynamic Range Compressors In Audio.

Feedback Vs. Feed-forward Compression

What is feedback compression? Feedback compression feeds the audio signal into the sidechain just after the gain reduction element. This compressor type reacts to the signal amplitude without anticipating it.

What is feed-forward compression? Feed-forward compression feeds the audio signal into the sidechain before the gain reduction element. This compressor type anticipates the signal amplitude and adjusts the sidechain signal in advance.

Feedback compressors tend to be less precise, offer fewer parameter controls and exhibit more interdependence between the parameter controls. They aren't capable of hard limiting but typically sound more natural with aggressive settings.

Feedback circuits are typically found in VCA, PWM, FET, optical, variable-mu, and diode bridge compressor circuits.

Feed-forward compressors generally offer more precise control with more parameters. Each parameter is typically independent of the others (within reason). Though feed-forward may sound more aggressive and can be used for hard limiting, it's often chosen for its versatility.

Feed-forward circuits are typically found in VCA, PWM, and digital/plugin compressor circuits.

Some compressors will offer the option between the two sidechain feeds, and a few others will even have a blend control between the two options.

To learn more about feedback and feed-forward compression, check out my article Feedback Vs. Feed-Forward Dynamic Range Compressors In Audio.

Upward Compression

What is upward compression? Upward compression is a type of dynamic range compression that boosts the amplitude of an audio signal below a certain threshold while maintaining the amplitude above the threshold. Upward compression is available in digital plugins and via parallel compression with hardware or software.

Upward compression isn't overly common but is worthy of mention in this article. If a compressor you're interested in has upward compression capabilities, it can reduce the dynamic range by bringing up the lowest levels of the signal without affecting the peaks.

De-Essing

What is an audio de-esser? De-essing is the process of attenuating sibilance and/or harshness in a vocal/voice audio signal. This can be achieved using a dynamic EQ, multiband compressor, sidechain compressor with automation in a mix, or manually.

Though de-essers are often packaged as distinct hardware units or audio plugins, some compressors will have the option for de-essing.

Of course, it may be easier (and more effective) to use a dedicated de-esser rather than a compression (which is typically capable of much more). However, de-essing capabilities are worth considering when choosing your next compressor.

• Click here to check out de-essers at Sweetwater
• Click here to check out de-essers at B&H Photo/Video

Back to the Table Of Contents.

Compressor Inputs/Outputs

Now, let's consider the inputs and outputs we may find on a compressor.

Audio input(s): the audio inputs are where the program audio is inputted to be compressed. The number of inputs will typically be equal to the number of channels the compressor offers (a mono compressor will have one input, and a stereo compressor with have two inputs). However, some compressors will offer different input connector options per channel.

Depending on the compressor design, the audio inputs may have the following connectors:

• XLR-F 3-pin
  • balanced line level audio (pro audio compressors)
• 1/4″ (6.35mm) jack
  • TS: unbalanced instrument level (compressor pedals and modular synth compressors)
  • TRS: balanced line level audio (pro audio compressors)
• 1/8″ (3.5mm) jack
  • TS: unbalanced instrument level (modular synth compressors)

Sidechain insert(s): sidechain inserts offer a send and return path for the inclusion of external processing in the sidechain signal path (often en EQ). The typical connectors for inserts, sends, and returns are 1/4″ jacks.

External sidechain input(s): the sidechain inputs allow an external sidechain signal to be inputted to control the compressor circuit. Typical connectors include 1/4″ jack and XLR-F 3-pin.

Audio output(s): the audio outputs are where the program audio is outputted after compression. The number of outputs will typically be equal to the number of channels the compressor offers, though some compressors will offer different output connector options per channel.

Depending on the compressor design, the audio outputs may have the following connectors:

• XLR-M 3-pin
  • balanced line level audio (pro audio compressors)
• 1/4″ (6.35mm) jack
  • TS: unbalanced instrument level (compressor pedals and modular synth compressors)
  • TRS: balanced line level audio (pro audio compressors)
• 1/8″ (3.5mm) jack
  • TS: unbalanced instrument level (modular synth compressors)

Back to the Table Of Contents.

A Note On Channel Strips

A channel strip technically refers to a single channel on a mixing console, though channel strips can be purchased as standalone, modular, and software units.

Channel strips generally have a mic input and mic preamp and can also include instrument (Hi-Z) and line inputs. Some channel strips offer a compressor section.

In addition to compression, channel strips may also feature EQ, gates, and even more, depending on the model. They're designed to offer all the basic signal processes we'd need to record superb audio at the source.

Like compressors, channel strips come in a variety of formats. These formats include modular form factors for specific modular mixing consoles, 500 Series, desktop, and rackmount units. Channel strip plugins are also available for digital audio workstations.

• Click the link to check out channel strips at Sweetwater
• Click the link to check out channel strips at B&H Photo/Video
• Click the link to check out channel strips on Amazon

Back to the Table Of Contents.

The post The Ultimate Audio Compressor Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

So you're wondering which audio plugin(s) you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about an audio plugin.

If you've found yourself asking, “Which audio plugin(s) should I buy?” this extensive resource is for you.

Please feel free to jump around this article and read all the additional resources I have provided links to.

With that, let's get into this comprehensive audio plugin buyer's guide to help you in your next plugin(s) purchase!

Related articles:
• Top 11 Best Audio Plugin (VST/AU/AAX) Brands In The World
• Audio Plugins Database
• Audio Plugins Brands Database

Table Of Contents

• What Is Your Audio Plugin Budget?
• System Requirements Of The Audio Plugin
• Consider The Freebies
• Consider Plugin Bundles
• Audio Plugin Formats
• Understanding Audio Plugin Effects
  • Dynamic Effects
  • Time-Based Effects
  • Spectral Effects
  • Modulation Effects
  • Sound Manipulation Effects
• Amplifier & Speaker Modelling Plugins
• Audio Plugins That Emulate Hardware
• Noise Reduction Plugins
• Microphone Modelling Plugins
• Virtual Monitoring Plugins
• Common Signal Chains For Audio Plugins
• Best Audio Plugins By Type

What Is Your Audio Plugin Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

Audio plugins, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget. Some plugins are even free, and most digital audio workstations have stock plugins for all the necessary audio processes.

Note that some retailers offer payment plans, which could be an option. Many audio plugin companies have bundles that could save you significant cash over purchasing each plugin individually. Other plugin companies offer subscription models.

Consider the cost-to-benefit ratio of the purchase of the audio plugin(s). For example, if the plugin(s) are needed for business, perhaps stretching the budget is more appropriate. If, on the other hand, you don't plan on making money with the plugin(s), perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your audio plugins.

Only you can determine your budget. All I'm here to say is that you should consider it.

Related article:
• Full List: Audio Effects & Processes For Mixing/Production

Back to the Table Of Contents.

System Requirements Of The Audio Plugin

Audio plugins are software, and software has system requirements. These requirements represent the minimum specifications a computer must have in order for the plugins to work.

Audio plugin system requirements include:

• Operating System
• CPU
• Supported Hosts/DAWs
• RAM
• Storage Space
• Screen Resolution
• Hardware Requirements

Audio Plugin Operating System Requirements

A computer's operating system manages its memory and processes along with all of its software and hardware. The OS must be compatible with and powerful enough to run the audio plugin and the digital audio workstation (if applicable) that the plugin is used with.

The most popular operating systems are Windows, Mac, Linux, Android, and iOS. Note that these operating systems are updated on a regular basis. When considering a plugin, be sure to check both the compatible operating systems and the minimum/maximum version of the OS.

Audio Plugin CPU Requirements

A computer's central processing unit (CPU) performs calculations and actions and runs programs within the computer's operating system. It's regularly referred to as the “brains of the computer”.

The CPU, physically speaking, is generally a square chip in the motherboard of the computer/device. It takes instructional inputs from RAM (random access memory), decodes and processes the action, and delivers an output.

The bit-depth of a computer's CPU refers to how much data the computer can process.

Today, computers are generally either 32-bit or 64-bit. 32-bit computers can access 2³² bytes (units of digital information) of RAM, while 64-bit computers can access 2⁶⁴ bytes of RAM.

64-bit computers are faster, have better graphics, and are more secure. Additionally, some audio plugins will only work on 64-bit systems. Know your computer's bit-depth and CPU specifications, and ensure the plugins' system requirements are compatible with your computer.

Sometimes, plugin developers offer 32-bit and 64-bit versions of their plugins. Be sure to use the proper version.

Audio Plugin Supported Hosts/DAWs Requirements

There are numerous digital audio workstations on the market. DAWs also have system requirements in regard to computers and operating systems. Furthermore, an audio plugin must be compatible with a DAW to function properly within that DAW.

Make sure the plugins you plan on buying are compatible with your digital audio workstation of choice and, more specifically, the version of your preferred DAW.

Audio Plugin RAM Requirements

Random access memory (RAM) provides applications with a place to store and access data on a short-term basis. It stores the information the computer is actively using so it can be accessed quickly.

An audio plugin can be thought of as an application inside an application (the DAW). When processing digital audio, a computer must have adequate RAM. If it doesn't, the performance will be sluggish, causing latency, overloading and errors in the plugin and DAW.

Audio Plugin Storage Space Requirements

Storing audio plugin software takes up space on the computer's hard drive. Plugin developers generally give a minimum space requirement for installing and holding the plugin on the hard drive.

Audio Plugin Screen Resolution Requirements

Audio plugins don't only process audio. They also have graphic user interfaces. Therefore, there should be a minimum specification for screen resolution for the plugin to be visible on the computer screen.

Audio Plugin Hardware Requirements

Sometimes, audio plugins are designed as software expansions for specific audio hardware.

Back to the Table Of Contents.

Consider The Freebies

This may seem odd for a “buyers' guide,” but consider the freeware option when looking for your next plugin.

There are plenty of free audio plugins available for download. Some of these plugins perform just as well or even better than paid options.

Why spend money if you don't have to?

The stock plugins in your digital audio workstation should also be tested before opting for paid-for plugins. Though these plugins aren't technically “free” (unless your DAW is also free), they should be considered.

If you do happen to have your eye on a paid plugin, see if you can try a demo version before you buy. Oftentimes, there will be a demo with limited functionality or time usage. Demos should give you enough experience with the user interface and “character” of the plugin to make an informed decision on purchasing it or not.

Of course, I do not condone pirating/stealing software. That's not what I mean by free!

• Click the link to check out free audio plugins at Plugin Boutique
• Click the link to check out free audio plugins at Plugin Fox

Back to the Table Of Contents.

Consider Plugin Bundles

Many plugin developers offer bundles of their plugins at a discounted price. Rather than buying each plugin individually, we can save by buying a larger quantity.

Sometimes, we only need a single plugin, which is fine. If we need several plugins, it may be worth opting for a bundle and receiving the plugins we need and even some we may not need (at this very moment).

Of course, there's an argument to make about having too many options. Buying bundles may give us too many plugins, which may waste our time as we audition them.

Similar to bundles, some developers have switched to a subscription model, whereby a monthly fee is paid for access to a certain amount of the brand's plugins or even all its plugins.

Plugins and plugin bundles sometimes go on sale. If you're interested in a more expensive bundle or individual plugin, it may be worth waiting for the software to go on sale.

• Click the link to check out audio plugin bundles at Sweetwater
• Click the link to check out audio plugin bundles at Plugin Boutique
• Click the link to check out audio plugin bundles at Plugin Fox

Back to the Table Of Contents.

Audio Plugin Formats

Beyond the standard system requirements, audio plugins also come in a variety of formats to be compatible with different digital audio workstations (host software). These formats can be thought of as interfaces between the plugins and the DAWs they're plugged into.

In this section, we'll discuss the different audio plugin formats we tend to see on audio plugin datasheets. Let's list out the sub-topics:

• Native Vs. DSP-Powered
• VST (Virtual Studio Technology)
• VST3 (Virtual Studio Technology: Version 3)
• AAX (Avid Audio eXtension)
• AU (AudioUnits)
• RTAS (Real-Time Audio Suite)
• TDM (Time Division Multiplexing)
• A Note On Standalone Applications

Note that many plugins will come in a variety of these formats in order to accommodate the most digital audio workstations and computer operating systems possible. Still, it's important to know the differences between the formats.

Native Vs. DSP-Powered

Native plugins are processed by the computer's CPU. DSP plugins are processed on dedicated hardware (a separate interface or accelerator card) connected to the computer.

Native and DSP plugins aren't necessarily formats, but they are processed differently. DSP plugins free up your computer's processing power, thereby reducing latency. The catch is that you'll need additional software.

Native and DSP plugins can be used together in a DAW.

These plugins will also have to fit into one of the following audio plugin formats for compatibility with the various DAWs/hosts on the market.

• Click the link to check out native audio plugins at Sweetwater
• Click the link to check out native audio plugins at Plugin Boutique
• Click the link to check out native audio plugins at Plugin Fox

• Click the link to check out DSP audio plugins at Sweetwater
• Click the link to check out DSP audio plugins at Plugin Boutique
• Click the link to check out DSP audio plugins at Plugin Fox

VST (Virtual Studio Technology)

VST was originally developed by Steinberg and is the most widespread format. If you're using Windows, chances are your DAW will support VST/VST2 plugins (Pro Tools does not). VST/VST2 is also designed for Mac, though it's less popular on Mac OS DAWs.

• Click the link to check out VST audio plugins at Sweetwater
• Click the link to check out VST audio plugins at Plugin Boutique
• Click the link to check out VST audio plugins at Plugin Fox

VST3 (Virtual Studio Technology: Version 3)

VST3 is the newest Steinberg plugin format and is a completely separate format from VST/VST2. VST3 is more powerful than VST/VST2, allowing for increased functionality among its plugins. It is available on Windows and Mac and is becoming more and more widespread.

• Click the link to check out VST3 audio plugins at Sweetwater
• Click the link to check out VST3 audio plugins at Plugin Boutique
• Click the link to check out VST3 audio plugins at Plugin Fox

AAX (Avid Audio eXtension)

AAX (Avid Audio eXtension) is Avid's proprietary format, used exclusively to interface plugins with Pro Tools. Like Pro Tools, AAX is available on Windows and Mac.

• Click the link to check out AAX audio plugins at Sweetwater
• Click the link to check out AAX audio plugins at Plugin Boutique
• Click the link to check out AAX audio plugins at Plugin Fox

AU (AudioUnits)

AU is a format designed by Apple and is used with Apple's host software, notably Logic Pro and GarageBand.

• Click the link to check out AU audio plugins at Sweetwater
• Click the link to check out AU audio plugins at Plugin Boutique
• Click the link to check out AU audio plugins at Plugin Fox

RTAS (Real-Time Audio Suite)

RTAS is a plugin format developed by Digidesign, which is now Avid. This is the old format for Pro Tools.

• Click the link to check out RTAS audio plugins at Sweetwater
• Click the link to check out RTAS audio plugins at Plugin Boutique
• Click the link to check out RTAS audio plugins at Plugin Fox

TDM (Time Division Multiplexing)

The TDM plugin format is another format developed by Avid. This one is designed for outboard hardware DSP processors integrated with Pro Tools.

• Click the link to check out TDM audio plugins at Plugin Boutique
• Click the link to check out TDM audio plugins at Plugin Fox

A Note On Standalone Applications

Some plugin developers offer standalone versions of their plugins. Technically, these aren't plugins but rather standalone applications in their own right. This is popular with guitar amp simulation plugins but is more common with virtual instruments than “regular” plugins.

Back to the Table Of Contents.

Understanding Audio Plugin Effects

Understanding the typical audio effects and processes will give us a better idea of what various audio plugins will do. Oftentimes, an audio plugin will be designed to provide one or more of these effects/processes:

• Dynamic effects
• Time-based effects
• Spectral effects
• Modulation effects
• Sound manipulation effects

Dynamic Effects

Dynamic effects audio plugins alter the dynamics of an audio signal (the changes in amplitude over time).

By altering the signal’s amplitude, dynamic effects will also alter the shape of the signal waveform, which is, by definition, signal distortion.

Let's consider the various dynamic effects (I'll include links to in-depth articles when applicable):

Compression

What is audio compression? Dynamic range compression is the process of reducing the dynamic range of an audio signal by attenuating the amplitude of the signal above a set threshold. A compressor can be software or hardware and performs compression on an audio signal (digital or analog).

• Click the link to check out compressor plugins at Sweetwater
• Click the link to check out compressor plugins at Plugin Boutique
• Click the link to check out compressor plugins at Plugin Fox

There are various styles of compression worth considering when opting for a compressor plugin:

FET compressor: A FET compressor is an analog compressor that utilizes a field-effect transistor at the core of the circuit. These compressors are fast-acting and offer greater transient preservation than other types of compressors. FET compressor plugins emulate this style of compression.

• What Is A FET Compressor & How Does It Work?

Multiband compression: Multiband dynamic range compression is a type of processing that splits the frequency spectrum of the input signal into different bands and compresses (reduces the dynamic range) each band with its own unique compression settings.

• What Is Multiband Compression & How Do MB Compressors Work?

Optical compressor: An optical compressor is an analog compressor that uses a light element and optical cell to alter the dynamics of an audio signal. As the amplitude of the audio signal increases, the light element emits more light and causes the optical cell to attenuate the amplitude of the output signal. Optical compressor plugins emulate this style of compression.

• What Is An Optical Compressor & How Does It Work?

Parallel/Manhattan compression: Parallel compression (also known as New York or Manhattan compression) is a technique where one audio track (or several) is sent to a bus, and that bus is heavily compressed. Both versions of the audio are then mixed together to achieve a punchy sound without losing the dynamic of the dry signal(s).

Sidechain compression: Sidechain compression is a compression style/technique where the compressor acts to compress/attenuate an input signal/track according to the control of a separate signal/track (external sidechain) rather than the typical sidechain signal, which is a modified version of the input audio signal.

• The Complete Guide To Sidechain Compression In Audio

Variable-mu compressor: A variable-mu (variable gain) compressor is an analog compressor centred around a vacuum tube. As the input signal increases, the current sent to the tube’s grid decreases, reducing the overall level. Variable-mu compressor plugins emulate this style of compression.

• What Is A Variable-Mu (Tube) Compressor & How Does It Work?

VCA compressor: A VCA (voltage-controlled amplifier) compressor is an analog compressor that utilizes a VCA control to apply compression. The input signal is split through an integrated circuit into a detector path (to control the VCA compression) and an output path. VCA compressor plugins emulate this style of compression.

• What Is A VCA Compressor & How Does It Work?

De-Esser

What is an audio de-esser? De-essing is the process of attenuating sibilance and/or harshness in a vocal/voice audio signal. This can be achieved using a dynamic EQ, multiband compressor, sidechain compressor with automation in a mix, or manually.

• Click the link to check out de-esser plugins at Sweetwater
• Click the link to check out de-esser plugins at Plugin Boutique
• Click the link to check out de-esser plugins at Plugin Fox

Distortion

What is audio distortion? Audio distortion, technically speaking, is any change/deformation in an output waveform relative to its input caused by any non-linear behaviour of the signal path. There are many different types of distortion. Some are unwanted, but many are used as audio effects.

There are various styles of distortion worth considering when opting for a distortion-type plugin:

Bitcrushing: Bitcrushing is an audio distortion effect that causes distortion by reducing the resolution (bit depth) or bandwidth (sample rate) of a digital audio signal. Reducing the resolution and/or bandwidth makes the digital signal less accurate, with more quantization noise and distortion.

• Click the link to check out bitcrusher plugins at Sweetwater
• Click the link to check out bitcrusher plugins at Plugin Boutique
• Click the link to check out bitcrusher plugins at Plugin Fox

Clipping: Clipping is a form of distortion where the waveform's amplitude tries to exceed the maximum possible amplitude and is thereby “clipped” at its max. This is possible in analog amplifiers (both tube/valve and solid-state/transistor-based) and digital signal processing.

• Click the link to check out clipper plugins at Sweetwater
• Click the link to check out clipper plugins at Plugin Boutique
• Click the link to check out clipper plugins at Plugin Fox

Distortion: The “distortion” effect in audio is produced by hard-clipping the input signal through transistor-based or tube-based circuits. Distortion is the most common on electric guitars but also suits many other instruments.

• Click the link to check out distortion plugins at Sweetwater
• Click the link to check out distortion plugins at Plugin Boutique
• Click the link to check out distortion plugins at Plugin Fox

Fuzz: The Fuzz effect is caused by hard-clipping a signal so much that it nearly turns into a square wave. It’s perhaps the most extreme example of distortion as an audio effect and completely changes the sound of the audio signal.

• Click the link to check out fuzz plugins at Sweetwater
• Click the link to check out fuzz plugins at Plugin Boutique
• Click the link to check out fuzz plugins at Plugin Fox

Overdrive: Overdrive is a distortion effect that is caused by (or aims to emulate) pushing a tube amplifier just past its amplitude limits. The signal is compressed and “soft-clipped,” resulting in warm saturation in the signal. Overdrive plugins emulate this effect.

• Click the link to check out overdrive plugins at Sweetwater
• Click the link to check out overdrive plugins at Plugin Boutique

Tape saturation: Tape saturation is a type of distortion that happens when the voltage sent to an analog tape exceeds the tape’s ability to record it. In playback, this causes a non-linear saturation of the original source. Tape saturation plugins emulate this effect.

• Click the link to check out tape saturation plugins at Sweetwater
• Click the link to check out tape saturation plugins at Plugin Boutique
• Click the link to check out tape saturation plugins at Plugin Fox

Tube saturation: Tube saturation is a type of distortion that happens when a valve (vacuum tube) amplifier is overloaded at its output. If the amplification attempts to exceed the tube’s maximum output, clipping distortion/saturation will occur in which the output becomes distorted. Valve saturation plugins emulate this effect.

• Click the link to check out tube saturation plugins at Sweetwater
• Click the link to check out tube saturation plugins at Plugin Boutique
• Click the link to check out tube saturation plugins at Plugin Fox

Exciter

What is an audio exciter? An audio/aural exciter is a type of parallel saturation/filter combo effect. A signal is saturated only in the top-end (often above 3 kHz) to enhance or “excite” the sound. Think of it as duplicating the signal, high-passing and saturating the copy and mixing the two back together.

• Click the link to check out exciter plugins at Sweetwater
• Click the link to check out exciter plugins at Plugin Boutique
• Click the link to check out exciter plugins at Plugin Fox

Expanding

What is audio expanding? Expanding can be thought of as the opposite of compression. It aims to increase the dynamic range of the signal. An expander will reduce the signal's amplitude if it drops below the set threshold, thereby “expanding” the signal’s dynamic range.

• Click the link to check out expander plugins at Sweetwater
• Click the link to check out expander plugins at Plugin Boutique
• Click the link to check out expander plugins at Plugin Fox

Limiting

What is audio limiting? Limiting is a type of hard compression whereby the signal is not allowed above a certain threshold. Rather than attenuating the signal (above the threshold) by a ratio, the limiter will simply cut off the signal at the threshold. We can think of a limiter as a compressor with an infinite ratio.

• Click the link to check out limiter plugins at Sweetwater
• Click the link to check out limiter plugins at Plugin Boutique
• Click the link to check out limiter plugins at Plugin Fox

Noise Gating

What is audio noise gating? Noise gating is an effect that kills the output signal if the input signal drops below a set threshold. This helps to gate or remove noise from the signal when an instrument (or another sound source) is not playing.

• Click the link to check out noise gate plugins at Sweetwater
• Click the link to check out noise gate plugins at Plugin Boutique
• Click the link to check out noise gate plugins at Plugin Fox

Transient Shaper

What is an audio transient shaper? A transient shaper is a dedicated envelope control for manipulating the attack (and often the decay and release) of individual transients in an audio signal. These transients are typically percussive hits or notes. Transient shapers can either harden or soften the transient attacks within a signal.

• Click the link to check out transient shaper plugins at Sweetwater
• Click the link to check out transient shaper plugins at Plugin Boutique
• Click the link to check out transient shaper plugins at Plugin Fox

Time-Based Effects

Time-based effects include all processes where some form of time manipulation occurs to the signal. The most obvious examples of time-based effects are delay and reverb.

Let's consider the various time-based effects (I'll include links to in-depth articles when applicable):

Delay

What is the delay effect in terms of audio? Delay is a time-based effect where an input signal is recorded for a relatively short amount of time and is played back after a set period of time after the initial recording. There are many ways to achieve delay and different styles/types of the effect.

• Click the link to check out delay plugins at Sweetwater
• Click the link to check out delay plugins at Plugin Boutique
• Click the link to check out delay plugins at Plugin Fox

There are various styles of delay worth considering when opting for a delay plugin:

Analog (BBD) delay: Analog delay is a delay effect that utilizes bucket-brigade devices (BBDs). The BBD is a network of capacitors connected in cascade that, when controlled by a clock, will effectively delay the signal by a set time. The quality of each delay is degraded, giving a warm sound. Analog delay plugins emulate this effect.

Digital delay: Digital delay is a delay effect that utilizes digital signal processing to record an incoming signal and playback a delayed version of the signal. Parameters such as delay time, level, panning and feedback can be adjusted. Digital delay can also act to emulate/combine different types of delay.

Doubling effect: The doubling echo effect is a short single delay that mimics the effect of double-tracking or unison performance.

Reverse delay: Reverse delay is a type of delay where the delayed signal information is processed to reverse the audio before it is outputted. The reverse delay effect will have inherent lag, as reversing a signal cannot be done in real-time during playback.

Shimmer delay: Shimmer delay is a type of delay where the delayed signal is pitch-shifted upward (typically an octave) to give a direct signal with a “shimmering” delay tail.

Tape delay: Tape delay is a delay effect achieved by routing the audio signal to a second tape recorder. The audio would be fed to the secondary tape’s record head and be played back just milliseconds later on the playback head. This delayed playback signal would be sent back to the main recording.

Reverb

What is the reverb effect in terms of audio? The reverb effect recreates the natural effect of Reverberation, which happens when a sound wave hits a surface (or multiple surfaces). It reflects back to the listener at varying times and amplitudes. This creates a complex echo that holds information about the physical space.

• Click the link to check out reverb plugins at Sweetwater
• Click the link to check out reverb plugins at Plugin Boutique
• Click the link to check out reverb plugins at Plugin Fox

Reverb plugins emulate the various styles of reverb. Let's consider these various reverb types:

Acoustic emulation reverb: Acoustic emulation reverb is a digital reverb effect that aims to emulate the reverb of a physical space. Common acoustic emulation reverb types include room, chamber, hall, and cathedral reverbs.

Bloom reverb: Bloom reverb is an unnatural digital reverb that “blooms” into effect as the reverb evolves. It has very quiet initial reflections that continuously increase in amplitude until a certain point where the reverb tail is kicked in.

Convolution reverb: Convolution reverb is achievable by recording a physical acoustic space, sampling it and analyzing it thoroughly. Profiles are made for the initial reflections, decay time and frequency damping. An algorithm is then created to simulate that physical space.

Plate reverb: Plate reverb emulates the sound of reverb by vibrating a plate and recording the results. An input transducer vibrates the plate (converts an audio signal into vibrations). As the plate vibrates, an output transducer will convert these vibrations to audio.

Shimmer reverb: Shimmer reverb combines pitch-shifting with reverb. The wet/effected reverb signal is pitched up (typically by an octave) relative to the dry/direct signal.

Spring reverb: Spring reverb emulates the sound of reverb by vibrating a spring and recording the results. An input transducer vibrates one end of the spring (converts an audio signal into vibrations). The other end of the spring connects to an output transducer (converts the spring vibrations into audio).

Spectral Effects

Spectral effects refer to the frequency spectrum of audio and, sometimes, to the panoramic spectrum of an audio mix.

These audio plugins alter the frequency information of the audio by shifting pitch, filtering, and imaging.

Let's consider the various spectral effects (I'll include links to in-depth articles when applicable):

Equalization

What is audio equalization? Audio equalization (EQ) is the process of altering the amplitude of certain frequencies/frequency bands in an audio signal. This includes filtering out sound below or above a certain cut-off frequency (high-pass and low-pass filtering, respectively). It also refers to shelving, notching, boosting and cutting frequencies.

• Click the link to check out EQ plugins at Sweetwater
• Click the link to check out EQ plugins at Plugin Boutique
• Click the link to check out EQ plugins at Plugin Fox

Related articles:
• What Is Stereo Equalization/EQ In Audio & How Does It Work?
• What Is Mid-Side Equalization/EQ (Audio) & How Does It Work?
• The Complete Guide To Passive Equalization/EQ

There are various styles of compression worth considering when opting for a compressor plugin:

Dynamic EQ: Dynamic EQ is a type of equalization where the EQ of certain frequencies is triggered dynamically as those frequencies surpass a set amplitude threshold in the audio signal. Dynamic EQ, like a compressor, will have threshold, attack and release settings to alter the EQ of a signal dynamically.

• The Complete Guide To Dynamic Equalization/EQ

Graphic EQ: Graphic equalization is a style of EQ where predetermined bands, centred around set frequencies with set Q values, can be either boosted or cut. The name comes from the fact that the EQ settings of a graphic EQ unit typically look very obvious and “graphic”.

• The Complete Guide To Graphic Equalization/EQ

Linear phase EQ: A linear phase EQ is a type of equalization that does not alter the phase relationship of the source. There is no phase shift, and, therefore, the phase is “linear”. Achieving linear phase is not possible with analog circuits and has been made possible with computer coding.

• The Complete Guide To Linear Phase Equalization/EQ

Parametric EQ: Parametric EQ offers full customization of the frequency bands, including the choice of filter type, centre frequency, Q value and relative gain (boost/cut).

• The Complete Guide To Parametric Equalization/EQ

Pitch correction: Pitch correction is the process of identifying and altering the intonation of an audio signal in order to alter the pitch of notes without (ideally) altering any other aspects of the sound.

Pitch shifting: Pitch-shifting, as the name suggests, is any audio effect that shifts the input signal's pitch.

Semi-parametric EQ: Semi-parametric EQ offers some, but not all, of the customization of a parametric EQ. The customization of the frequency bands could include the choice of filter type, centre frequency, Q value, and relative gain (boost/cut).

• What Is Semi-Parametric Equalization/EQ In Audio?

Envelope Filter

What is envelope filtering? Envelope filtering is the filtering triggered by the envelope or transients of a signal. These filters, therefore, act according to the dynamic rise and fall of a signal and are most often used on bass, guitar and synthesizer instruments.

• Click the link to check out envelope filter plugins at Sweetwater
• Click the link to check out envelope filter plugins at Plugin Boutique
• Click the link to check out envelope filter plugins at Plugin Fox

Imaging

What is stereo imaging? Imaging, as an audio production technique, is any effect that involves the perceived spatial location of the sound source(s) in a mix, both laterally (stereo/surround direction) and in depth. Panning, level, time-based effects, recording position and mic techniques all play a role in imaging.

• Click the link to check out imaging plugins at Sweetwater
• Click the link to check out imaging plugins at Plugin Boutique
• Click the link to check out imaging plugins at Plugin Fox

Wah

What is wah-wah? Wah (or Wah-Wah) is a common filtering effect on guitars and keyboard instruments. Wah is achieved by sweeping one or more boosts in EQ up and down in frequency, thereby mimicking the human vowel sound of “wah”.

• Click the link to check out wah plugins at Plugin Boutique
• Click the link to check out wah plugins at Plugin Fox

Modulation Effects

Modulation effects modify the source audio signal with another signal (generally an oscillator) and are generally used to give the sound a sense of movement. Plenty of effects fall into the modulation category, ranging from the weird-and-whacky ring modulation to the lush and wide chorus effect.

Let's consider the various modulation effects (I'll include links to in-depth articles when applicable):

Chorus: Chorus is an effect that produces copies of a signal (the original signal and each of its copies has its own “voice”) and detunes each voice to produce a widening and thickening of the sound. Each voice interacts with the other voices to produce slight modulation and an overall larger-than-life sound.

• Click the link to check out chorus plugins at Sweetwater
• Click the link to check out chorus plugins at Plugin Boutique
• Click the link to check out chorus plugins at Plugin Fox

Flanger: Flanger is a modulation audio effect whereby a signal is duplicated, and the phase of one copy is continuously shifted. This changing phase causes a sweeping comb filter effect where peaks and notches are produced in the frequency spectrum or the signal’s EQ.

• Click the link to check out flanger plugins at Sweetwater
• Click the link to check out flanger plugins at Plugin Boutique
• Click the link to check out flanger plugins at Plugin Fox

Phaser: Phaser is a modulation audio effect whereby a series of peaks and troughs are produced across the frequency spectrum of the signal’s EQ. These peaks and troughs vary over time, typically controlled by an LFO (low-frequency oscillator), to create a sweeping effect known as phaser.

• Click the link to check out phaser plugins at Sweetwater
• Click the link to check out phaser plugins at Plugin Boutique
• Click the link to check out phaser plugins at Plugin Fox

Ring modulation: Ring modulation is an amplitude modulation effect where two signals (an input/modulator signal and a carrier signal) are summed together to create two brand new frequencies, which are the sum and difference of the input and carrier signals. The carrier is typically a simple wave selected by the effects unit, while the modulator signal is the input signal.

• Click the link to check out ring modulation plugins at Sweetwater
• Click the link to check out ring modulation plugins at Plugin Boutique
• Click the link to check out ring modulation plugins at Plugin Fox

Tremolo: Tremolo is a fast variation in amplitude. Tremolo is similar to vibrato, except that it acts on amplitude/level rather than pitch.

• Click the link to check out tremolo plugins at Sweetwater
• Click the link to check out tremolo plugins at Plugin Boutique
• Click the link to check out tremolo plugins at Plugin Fox

Vibrato: Vibrato is a fast but slight up-and-down variation in pitch. Vibrato is used in signing and in instruments to add character and improve tone.

• Click the link to check out vibrato plugins at Sweetwater
• Click the link to check out vibrato plugins at Plugin Boutique
• Click the link to check out vibrato plugins at Plugin Fox

Back to the Table Of Contents.

Amplifier & Speaker Modelling Plugins

Amplifier and speaker modelling plugins are designed to emulate the sound of instrument amplifiers and speaker cabinets. They also typically emulate various microphones and mic positions in front of the cabinet. Some even emulate the sound of the room.

These plugins often have a variety of virtual effects units as well, providing a full suite of guitar, bass, and other instrument signal flows.

• Click the link to check out amp & speaker modelling plugins at Sweetwater
• Click the link to check out amp & speaker modelling plugins at Plugin Boutique
• Click the link to check out amp & speaker modelling plugins at Plugin Fox

Back to the Table Of Contents.

Audio Plugins That Emulate Hardware

Many audio plugins are designed to emulate classic and popular hardware audio units. From classic channel strips, mic preamps, EQs and compressors to hardware flangers, phasers, choruses, delays, reverbs, and more, there are audio plugin emulations out there.

• Click the link to check out hardware emulation plugins at Sweetwater
• Click the link to check out hardware emulation plugins at Plugin Boutique
• Click the link to check out hardware emulation plugins at Plugin Fox

Back to the Table Of Contents.

Noise Reduction Plugins

Noise reduction plugins are designed to reduce or eliminate noise (pops, clicks, electromagnetic interference, mechanical noise, etc.) from a digital audio signal while having as little effect on the timbre of the audio as possible.

• Click the link to check out noise reduction plugins at Sweetwater
• Click the link to check out noise reduction plugins at Plugin Boutique
• Click the link to check out noise reduction plugins at Plugin Fox

Back to the Table Of Contents.

Microphone Modelling Plugins

Microphone modelling plugins are used in conjunction with special modelling microphones. The plugin processes the microphone signal and emulates the sonic character of classic and popular microphones.

• Click the link to check out microphone modelling systems at Sweetwater

Back to the Table Of Contents.

Virtual Monitoring Plugins

Virtual monitoring plugins aim to emulate physical listening environments for headphone and studio monitor playback. Typically, these plugins will work with headphones and deliver virtual listening environments such as treated control rooms.

• Click the link to check out virtual monitoring plugins at Sweetwater
• Click the link to check out virtual monitoring plugins at Plugin Fox

Back to the Table Of Contents.

Common Signal Chains For Audio Plugins

Now that we've gone over the different types of audio plugins, let's consider what plugins we'd likely need for specific applications. More specifically, we'll look at generic processes/effects for typical signal flow chains.

In this section, we'll generalize the following:

• Vocal Signal Chains
• Guitar Signal Chains
• Mastering Signal Chains
• Effects Bus Signal Chains
• Instrument Bus Signal Chains

Vocal Signal Chains

• Microphone Modeller: if you choose to use a modelling microphone, it will come with its own plugin to mimic the character of whatever mic is selected. These plugins aren't overly common.
• Compressor: compressing the vocal will help fatten it up and make it sit more upfront in the mix (if done tastefully).
• EQ: EQ will help us reduce/remove unwanted resonances and noise in the signal while bringing out the important frequencies in the vocal (if done tastefully).
• De-Esser: de-essers are a special type of multiband compressor that act to reduce sibilance in the vocal.
• Saturation: saturation is a useful audio plugin effect to help combat the clinical sound of digital audio. It's essentially distortion that produces warm harmonics in the signal, reminiscent of analog audio.
• Delay: delay helps thicken the vocal and gives it a sense of space in the mix.
• Reverb: reverb gives the vocal even more space in the mix.

Guitar Signal Chains

• Amplifier & Speaker Modelling: amp and speaker modelling plugins are designed to reproduce the sound of miking a guitar cabinet. Different plugins will offer different amps, speakers and effects.
• Compressor: compressors help sustain notes, fatten tone, and make the guitar sit better in the mix.
• EQ: EQ helps get rid of resonance, noise, and frequencies we don't want while bringing out the frequencies we do want.
• Saturation: saturation brings out the sonic character of the guitar's harmonic content and provides “warmth”.
• Modulation: modulation is a popular effect for guitar but isn't always necessary or wanted. Think of chorus, vibrato, flanger, phaser, tremolo, ring modulation, etc.
• Delay: delay gives the guitar a sense of space and can be used to great effect.
• Reverb: reverb gives the guitar a sense of space and can be used to great effect.

Mastering Signal Chains

• Compressor: compression helps glue the mix together at the master.
• Multiband Compressor: multiband compression will compress certain bands more than others and reduce pumping while also gluing the mix together.
• EQ: subtle EQ can really make a master shine.
• Limiter: hard but subtle limiting at the end of a master chain ensures the final master output does not exceed 0 dBFS (decibels Full Scale), which would cause digital clipping.

Effects Bus Signal Chains

Multiple tracks can be routed to a bus, which can then be sent through an effects chain of plugins. EQ and compression are commonplace in this situation, as always.

Sidechain compression of buses is popular in electronic music.

Inserting a delay and/or reverb plugin on a bus will bring multiple tracks into the same “sonic space”.

Any time you want the same effects chain on multiple instruments, an effects bus is the way to go!

Instrument Bus Signal Chains

Instruments can benefit from all sorts of effects and processes. There are no hard rules for instrument bus signal chains, though compression and EQ are popular. Saturation and time-based effects are also common. Modulation, pitch-shifting, spectral effects, and more can be used to varying effects.

Back to the Table Of Contents.

The post The Ultimate Audio Plugin Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

So you're wondering which 500 Series modules, cases and power supplies you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about 500 Series equipment.

If you've found yourself asking, “Which 500 Series gear should I buy?” this extensive resource is for you.

Please feel free to jump around this article and read all the additional resources I have provided links to.

With that, let's get into this comprehensive 500 Series buyer's guide to help you in your next 500 Series purchase!

Related article:
• Top 11 Best Audio Brands For 500 Series Modules/Equipment

Table Of Contents

• What Is Your 500 Series Budget?
• The VPR Alliance
• Choosing A 500 Series Chassis & Power Supply
• Types Of 500 Series Modules
  • 500 Series Preamplifiers
  • 500 Series Dynamic Processors
  • 500 Series Equalizers
  • 500 Series Effects
  • Other 500 Series Modules
• Planning Your 500 Series System
• Know The Additional Costs Of 500 Series Accessories

What Is Your 500 Series Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

500 Series units, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget.

A benefit of the 500 Series' modular nature is that users can slowly build up their signal chain over time. The downside, of course, is that modular 500 Series setups tend never to be “complete”, so additional gear will cost more money.

Note that some retailers offer payment plans, which could be an option.

Consider the cost-to-benefit ratio of the purchase of the 500 Series unit(s). For example, if the 500 Series signal chain is needed for business, perhaps stretching the budget is more appropriate. On the other hand, if you don't plan on making money with the 500 Series gear, perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your 500 Series system.

Only you can determine your budget. All I'm here to say is that you should consider it.

Back to the Table Of Contents.

The VPR Alliance

The 500 Series modular format was developed by API (Automated Processes Incorporated). The format was initially brought to market in the 1970s and has since become one of the most popular modular formats for audio processors.

Because of the popularity of the format and the interest from third-party manufacturers, API created the VPR Alliance. It is a program of standardization and consistency guidelines for the 500 Series format. Manufacturers on the list are officially approved and follow complete design specifications to physically fit and electronically conform to API's rack specifications.

Not all third-party manufacturers are part of the VPR Alliance, which means their module or rack specs may not conform to the standard.

That's not to say that their products are incompatible, but rather, it's a sign that more attention should be paid to the specs to ensure proper integration within the 500 Series system. This is particularly important when it comes to power and current draw, as we'll touch on in the following section.

API is featured in top brand articles at My New Microphone. Check out these articles here!

Back to the Table Of Contents.

Choosing A 500 Series Chassis & Power Supply

The modular format of 500 Series rigs starts with the chassis (often referred to as a rack), which hosts the modules. These racks have varying numbers of slots, which the 500 Series modules fit into slots (some modules span more than one slot).

A rack/chassis is essentially a metal box with space to host the modules. Each slot has a card‑edge connector inside to connect to the inserted module and provide it with the power it needs to function. Audio inputs and outputs are provided for each slot/module.

Factors to consider when buying a 500 Series chassis/rack include:

• The number of slots
• Form factor & mounting
• Input/output
• Power supply

The Number Of Slots

The number of slots is a pretty straightforward specification. It refers to the number of slots available in the rack. Racks will have two or more slots, and most modules take up one slot, though there are 2-slot and even 3-slot modules on the market.

Choose a chassis with enough slots to host your modules now and, preferably, in the future.

However, beware that having empty slots may tempt you to overextend your budget to fill them!

Form Factor & Mounting

Most racks have vertical slots for their modules, though horizontal options are also available.

The two most common styles of 500 Series racks are desktop and rack-mounted. As the names suggest, desktop racks sit on the desktop and are easy to transport, while rack-mountable chassis can be mounted into standard 19″ racks.

Input/Output

Typical I/O to look for in 500 Series racks are multichannel DB-25 connectors and discrete balanced XLR or TRS jacks. ADAT and MIDI I/O are less popular but common enough.

Certain chassis even act as audio interfaces, connecting directly to computers via USB or other digital means.

Some chassis offer additional routing, including internal patching, stereo linking, and audio summing.

The majority of 500 Series racks send the output from their first slot into their second into their third, and so on, creating a continuous signal chain. Internal routing allows users to patch the signal themselves, allowing for more control over the signal flow without ever having to remove the modules.

As the name suggests, stereo linking is the linking of two stereo channels to a common control. This linking is typically implemented as a single sidechain controlling both channels of a stereo compressor.

Audio summing is similar to mixing: a process that combines two or more signals together into a single output signal.

Power Supply

The 500 Series chassis will generally contain the power source (±16V power rails) for its connected modules.

The type, quality and location of the power supply impact the performance of the rack and its modules.

Be sure the rack is able to power all the modules you plan to use with it. Ideally, the modules should only draw about 80 percent of the current available from the power supply. Note that 130 mA is standard for the current draw of 500 Series modules, but many modules draw much more than this.

Switch-mode power supplies use power transistors to produce a high-frequency voltage that is passed through small transformers and filtered to remove AC and noise. They are more efficient (80%), lighter weight, and handle wider input voltage ranges.

Linear power supplies deliver DC, passing the primary AC voltages through transformers and filtering out the AC component. They are less efficient and weigh more but are cheaper to produce.

Both switch-mode and linear power supplies work well with 500 Series racks and modules. Rather, it's more important to consider the location of the power supply and how well it's shielded.

Internal power supplies make the chassis more compact and do away with extra wiring. However, their proximity to the slots can cause electromagnetic interference and noise in the signal chain.

Modules with vacuum tubes and preamp modules with transistors can be particularly sensitive to this interference. Move these modules to slot further away from the built-in PSU or, alternatively, put a rack with an external power supply and keep a reasonable distance between the modules and rack that way.

• Click the link to check out 500 Series chassis/racks at Sweetwater
• Click the link to check out 500 Series chassis/racks at B&H Photo/Video
• Click the link to check out 500 Series chassis/racks at Amazon

Back to the Table Of Contents.

Types Of 500 Series Modules

Now that we have a chassis, it's time to fill it with the 500 Series modules. The modules are the actual signal processors. With the rise in popularity of the 500 Series format, more and more manufacturers are producing modules with or without VPR Alliance standards.

Let's discuss 500 Series modules by their broad categories.

• Preamplifiers
• Dynamic processors
• Equalizers
• Effects
• Other modules

500 Series Preamplifiers

What is a microphone preamplifier? A mic preamp is a type of amplifier with the purpose of bringing mic level (or instrument level) signals up to line level for use with professional equipment. Microphones and many instruments output low-level signals that require amplification for their use in mixing consoles, recording devices or digital audio workstations.

500 Series preamplifiers come in a variety of styles from tube or solid-state, recreation or original designs. Nowadays, you can pretty much find what you need in a 500 Series preamp.

Most of these preamps offer +48V phantom power for powering active microphones. They typically also have a Hi-Z or high-impedance input for connecting instruments directly.

Preamps are also generally included in channel strip 500 Series modules.

• Click the link to check out 500 Series preamplifier modules at Sweetwater
• Click the link to check out 500 Series preamplifier modules at B&H Photo/Video
• Click the link to check out 500 Series preamplifier modules at Amazon

Related articles:
• What Is A Microphone Preamplifier & Why Does A Mic Need One?
• Complete Guide To Microphone Preamplifier Specifications

500 Series Dynamic Processors

What are dynamics processors? Dynamics audio processors affect the dynamic range of a signal (the difference between the highest and lowest amplitude across time. The processes can reduce or expand the dynamic range, adjust transients, limit the highest maximum output or gate/cut-out signal below a certain level.

The most common dynamic process in audio is compression, and we'll find plenty of 500 Series compressor modules on the market. Like the preamps mentioned above, there are many compressor design recreations in the 500 format, but there are also original designs.

There are a plethora of compressor circuit styles, including optical, VCA, FET, and variable-mu/tube, which can be found in 500 series modules.

Sidechain control, stereo linking, VU metering and other common functions can be found in many 500 series compressors.

At the extreme end of compression, we have limiting, which effectively keeps a signal from surpassing a set threshold. There are 500 Series limiter module options as well.

Expanders and noise gate processors aren't nearly as popular, which shows in a lack of 500 Series module options.

Compression and dynamic control can be featured in 500 Series channel strips.

• Click the link to check out 500 Series dynamics modules at Sweetwater
• Click the link to check out 500 Series dynamics modules at B&H Photo/Video
• Click the link to check out 500 Series dynamics modules at Amazon

Related article:
• The Complete Guide To Audio Compression & Compressors

500 Series Equalizers

What is audio equalization? EQ is the process of adjusting the balance between frequencies within an audio signal. This process increases or decreases the relative amplitudes of some frequency bands compared to other bands with filters, boosts and cuts. EQ is used in mixing, tone shaping, crossovers, feedback control and more.

500 Series equalizers are generally of the parametric or semi-parametric variety, offering a set number of bands with controls over their boost/cut, Q and centre/cutoff frequencies. That said, there are also graphic EQ options out there.

EQs in the 500 Series format can be mono or stereo. They are often designed based on previous console designs, but there are certainly original units out there.

• Click the link to check out 500 Series equalizer modules at Sweetwater
• Click the link to check out 500 Series equalizer modules at B&H Photo/Video
• Click the link to check out 500 Series equalizer modules at Amazon

Related article:
• Complete Guide To Audio Equalization & EQ Hardware/Software

500 Series Effects

What are audio effects? Audio effects make up a broad category of audio processes that manipulate audio signals. They are typically broken down into distortion-based effects (distortion, overdrive, bit-crushing, etc.), modulation-based effects (chorus, flanger, ring modulation, etc.), time-based effects (delay, reverb), or spectral effects (wah, envelope filtering, pitch-shifting, etc.).

Effects go beyond the standard preamp-compressor-EQ signal chain and are popular for studio and live applications.

Popular effects include distortion/saturation, guitar effects, delay, and reverb.

• Click the link to check out 500 Series effects modules at Sweetwater
• Click the link to check out 500 Series effects modules at Amazon

Related article:
• Full List: Audio Effects & Processes For Mixing/Production

Other 500 Series Modules

Other 500 Series module types not listed above include:

• Audio interfaces
• Headphone amps
• Monitor controller
• Re-amping units
• Channel strips
• Synthesizers
• Wireless receivers/transmitters

If any of the above functions sound appealing to you, there are options for your 500 Series system!

Back to the Table Of Contents.

Planning Your 500 Series System

Now that we know about 500 Series modules and chassis, we need to consider our needs and wants for our 500 Series system. It's worth thinking about the present and the future when it comes to planning out your purchase.

Budget aside, what would your ideal signal chain be? How many modules would you need, and, therefore, how many slots would you need in the rack?

Is one preamp enough, or do you want a few options? Do you need a preamp at all? Perhaps your system is geared more toward mixing/mastering than tracking/recording.

There are different styles of compression and EQ. Do you know which style(s) you'd like in your signal chain? Do you even need these processes?

The same goes for effects, which are perhaps less common than preamps, compressors and equalizers.

Finally, what utility/miscellaneous modules do you need? Is re-amping a process you're into? Perhaps you need headphone monitoring directly from the 500 Series rack. Wireless connectivity may be required for certain applications. So on and so forth.

When building a more advanced system, you may need internal patching capabilities to choose which modules become part of the signal chain and in which order.

A typical signal chain order is as follows:

1. Microphone preamplifier
2. EQ and/or dynamics processors
3. Distortion effects
4. Modulation effects
5. Time-based effects

It's also important to consider how portable the system will need to be and purchase your rack accordingly.

Back to the Table Of Contents.

Know The Additional Costs Of 500 Series Accessories

• Cables
• Screws
• Blank panels

Cables

Cables (XLR, 1/4″ TRS, or otherwise) are required to send signals to and from the 500 Series unit and for routing/patching within the units that offer such functionality. Read up on the inputs/outputs of the modules and chassis for a better idea of the type and number of cables you'll need for your setup.

• Click the link to check out XLR cables at Sweetwater
• Click the link to check out XLR cables at B&H Photo/Video
• Click the link to check out XLR cables at Amazon

• Click the link to check out patch cables at Sweetwater
• Click the link to check out patch cables at B&H Photo/Video
• Click the link to check out patch cables at Amazon

Screws

500 Series modules connect electrically via 15‑pin edge connectors but are physically held in place with screws on their front plate. These screws are a necessary part of a 500 Series system.

• Click the link to check out 500 Series screws at Sweetwater
• Click the link to check out 500 Series screws at B&H Photo/Video

Blank Panels

Blank panels screw into empty 500 Series rack slots, thereby keeping dust and other particles from entering the unit.

• Click the link to check out 500 Series blank panels at Sweetwater
• Click the link to check out 500 Series blank panels at B&H Photo/Video

Back to the Table Of Contents.

The post The Ultimate 500 Series Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

So you're wondering which effects pedal you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about an effects pedal.

If you've found yourself asking, “Which pedal/stompbox should I buy?” this extensive resource is for you.

Please feel free to jump around this article and read all the additional resources I have provided links to.

Let's get into this comprehensive effects pedal buyer's guide to help you in your next pedal purchase!

Related articles:
• Top 11 Best Guitar/Bass Effects Pedal Brands To Know & Use
• Top 11 Best Boutique Guitar/Bass Pedal Brands To Know & Use
• Effects Pedals Database
• Effects Pedals Brands Database

Table Of Contents

• What Is Your Effect Pedal Budget?
• Single-Effect Pedals Vs. Multi-Effect Pedals
• Understanding Pedal Types & Effects
  • Dynamic Effects
  • Pitch-Effects
  • Gain-Based-Effects
  • Spectral Effects
  • Modulation Effects
  • Time-Based Effects
  • Utilities
  • Synth Pedals
  • Miscellaneous Effects
• Mono Vs. Stereo Effect Pedals
• True Bypass Vs. Buffered Bypass Pedals
• Planning Out The Pedalboard
• Know The Additional Costs Of Effect Pedal Accessories
• Best Pedals By Type

What Is Your Effect Pedal Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

Effects pedals, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget.

Note that some retailers offer payment plans, which could be an option.

Consider the cost-to-benefit ratio of the purchase of the effects pedal. For example, if the pedal is needed for business, perhaps stretching the budget is more appropriate. On the other hand, if you don't plan on making money with the pedal, perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your pedal(s).

Only you can determine your budget. All I'm here to say is that you should consider it.

Back to the Table Of Contents.

Single-Effect Pedals Vs. Multi-Effect Pedals

Before we begin searching for our next pedal, we should ask ourselves whether we want an all-in-one multi-effects unit or one or more single-effect pedals.

The difference is in the name. Single-effect pedals (sometimes referred to as stompboxes) are specialized units that focus, typically, on one effect, though some stompboxes offer a few different effects. Conversely, multi-effects pedal units are designed to offer all the effects we would need in a single unit.

Single-effect pedals are typically analogue, though many have digital components. They do one effect well (if designed correctly) and can be chained together with other single-effect pedals according to the musician's needs. Note that each pedal will require its own power supply.

Multi-effects pedals are typically fully digital to pack all the different effects and routings into a single housing. So, with a single unit and a single power supply, the musician has access to a wide variety of effects.

So then, which should you buy? Let's look at the pros and cons lists for each pedal style to help you decide:

Pros Of Single-Effect Pedals

Single-effect pedals are generally easy to use. There are rarely large menus and banks to scroll through, nor are there in-pedal routing issues to solve. That being said, some pedals offer presets.

Single-effect pedals are more visually laid out on pedalboards, and it's easier to see which pedals are on/off and turn them on/off.

Single-effect pedals are easily mounted to pedalboards.

Single-effect pedals are easy to route manually. It's simple to physically move and repatch the pedals to obtain a new signal path.

Cons Of Single-Effect Pedals

Single-effect pedals need to be individually powered, which will eat up batteries quickly (if you go that route, which I don't recommend) or require a dedicated power supply. Powering multiple pedals will require a power brick.

Chaining too many single-effect pedals together can lead to tone suck, where signal degradation becomes a factor in your tone. Additionally, the more pedals that are chained together, the more opportunity there is for something in the chain to go wrong (poor connection, dirty potentiometer, malfunctioning pedal, etc.).

Including too many single-effect pedals on a pedalboard will make it heavy. By the same token, pedalboards have limited space, so they can only fit so many individual effects. Furthermore, having too many pedals can make it difficult to “tap dance” around and ensure the proper pedals are being turned on or off appropriately.

Single-effect pedals only provide one effect or a few at best. Experimenting with new effects would require renting or investing in a new pedal. Buying individual pedals is also less cost-effective than opting for an all-in-one multi-effect.

• Click here to check out single-effect pedals at Sweetwater
• Click here to check out single-effect pedals at B&H Photo/Video
• Click here to check out single-effect pedals on Amazon

Pros Of Multi-Effect Pedals

Multi-effect pedals offer a wide assortment of effects in a single compact unit. They will also often have multiple varieties of any given effect (different flavours of fuzz, a plethora of delay options, etc.). Additionally, multi-effect pedals only require one power supply.

Once understood, the sometimes intimidating menus can be your best friends, offering plentiful options in routing and effects.

Experimenting with lesser-used effects is easy. There's no need to buy a new pedal to try out a new effect that may or may not be used in your tone palette.

Cons Of Multi-Effect Pedals

The menus of multi-effects pedals are sometimes difficult to use. Adjusting things on the fly during a gig is more difficult as options are often hidden in layers of menus rather than being laid out in individual effects units.

Having too many options may be overwhelming.

The presets are great but may not offer the tone you're looking for. However, tweaking these presets is typically possible.

Multi-effects pedals generally don't sound as great at any specific effect as a dedicated single-effect pedal would.

• Click here to check out multi-effect pedals at Sweetwater
• Click here to check out multi-effect pedals at B&H Photo/Video
• Click here to check out multi-effect pedals on Amazon

Back to the Table Of Contents.

Understanding Pedal Types & Effects

Knowing the different effects available in pedals is important. This is true of multi-effect pedals but especially for single-effect pedals.

With so many audio effects, choosing the next effect for your setup can be overwhelming. To make matters even more complicated, there are plenty of pedals on the market for most effects types. Perhaps this is another reason to opt for a multi-effect pedal unit. However, in this section, we'll go through the various pedal effects we'll encounter.

Effects can be categorized into the following broad types:

• Dynamic Effects
• Pitch Effects
• Gain-Based Effects
• Spectral Effects
• Modulation Effects
• Time-Based Effects
• Utilities
• Synth
• Miscellaneous Effects

Related article: Full List & Description Of Guitar Pedal Types

Dynamic Effects

Dynamic effects pedals alter the dynamics of an audio signal (the changes in amplitude over time).

By altering the signal's amplitude, dynamic effects will also alter the shape of the signal waveform, which is, by definition, signal distortion.

The dynamic effects found in pedals include:

• Compressor Pedals
• Limiter Pedals
• Expander Pedals
• Noise Gate Pedals

Compressor Pedals

What is audio compression? Dynamic range compression is the process of reducing the dynamic range of an audio signal by attenuating the amplitude of the signal above a set threshold. A compressor can be software or hardware and performs compression on an audio signal (digital or analog).

Compressors will help fatten the tone by reducing dynamic range. They can also improve sustain and make a musician's levels more consistent.

The types of compressor circuits in compressor pedal circuits are typically VCA, but there are also FET and optical options. Click the links for more information on each compressor type.

When choosing a compressor pedal, listen to the tone and look for the following controls (I've included links to in-depth articles on select controls):

• Output level
• Input level
• Mix
• Threshold
• Ratio
• Attack
• Release
• Sustain
• Tone

• Click here to check out compressor pedals at Sweetwater
• Click here to check out compressor pedals at B&H Photo/Video
• Click here to check out compressor pedals on Amazon

To learn more about compressor pedals, check out the following My New Microphone article:
• What Are Compressor Pedals (Guitar/Bass) & How Do They Work?

Limiter Pedals

What is audio limiting? Limiting is a type of hard compression whereby the signal is not allowed above a certain threshold. Rather than attenuating the signal (above the threshold) by a ratio, the limiter will simply cut off the signal at the threshold. We can think of a limiter as a compressor with an infinite ratio.

Limiter pedals keep the audio signal below a defined maximum output. When hit hard, they act as compressors and sustainers. Hit them even harder, and they may even border distortion and fuzz.

• Click here to check out limiter pedals at Sweetwater
• Click here to check out limiter pedals at B&H Photo/Video
• Click here to check out limiter pedals on Amazon

Expander Pedals

What is audio expanding? Expanding can be thought of as the opposite of compression. It aims to increase the dynamic range of the signal. An expander will reduce the signal's amplitude if it drops below the set threshold, thereby “expanding” the signal’s dynamic range.

Expander pedals aren't that common. However, there is a market for them with players that want extra transients in their tone.

Noise Gate Pedals

What is audio noise gating? Noise gating is an effect that kills the output signal if the input signal drops below a set threshold. This helps to gate or remove noise from the signal when an instrument (or another sound source) is not playing. Noise gates are especially useful in noisy rigs, which often include vintage gear.

Noise gate pedals can be our best friends or our worst enemies. They work by effectively muting the signal below a certain threshold. These pedals help reduce noise and feedback when we're not playing. However, if they're set too sensitive, they can cut the audio before the sustain has a chance to fade appropriately.

When choosing a noise gate pedal, listen to how it cuts in and out below the set threshold, check to see whether there's a send/return insert loop, and look for the following controls:

• Threshold
• Decay
• Reduction

• Click here to check out noise gate pedals at Sweetwater
• Click here to check out noise gate pedals at B&H Photo/Video
• Click here to check out noise gate pedals on Amazon

Pitch Effects

Pitch effects alter or otherwise manipulate the perceived pitch of the incoming audio signal. The two types of pitch-shifting pedals are:

• Pitch-Shifting Pedals
• Octave & Harmonizer Pedals

Pitch-Shifting Pedals

What is pitch-shifting? Pitch-shifting, as the name suggests, is an audio effect that shifts the input signal's pitch.

• Click here to check out pitch-shifting pedals at Sweetwater
• Click here to check out pitch-shifting pedals at B&H Photo/Video
• Click here to check out pitch-shifting pedals on Amazon

To learn more about pitch-shifting pedals, check out my article What Are Pitch-Shifting Guitar Pedals & How Do They Work?

Octave & Harmonizer Pedals

What are octaves? An octave is an interval between one musical pitch and another with double its fundamental frequency. Octave pedals will copy the input signal and pitch the copy/copies up or down an octave(s).

What is harmonization? Harmonization is defined as the chordal accompaniment to a melody. As an effect, harmonization will produce an interval (or multiple intervals) of the inputted note along with the dry signal. Harmonizers can be tuned to certain keys or certain intervals.

With harmonization and octave pedals, the dry note is duplicated one or more times and shifted in pitch. The output is then a combination of the input dry signal and/or a combination of the pitch-shifted voices.

• Click here to check out octave pedals at Sweetwater
• Click here to check out harmonizer pedals at Sweetwater
• Click here to check out octave pedals at B&H Photo/Video
• Click here to check out harmonizer pedals at B&H Photo/Video
• Click here to check out octave pedals on Amazon
• Click here to check out harmonizer pedals on Amazon

Gain-Based Effects

Gain-based effects alter the gain of the signal in one way or another to achieve the desired effect. These effects range from boosting the signal level to clipping it into square wave territory.

The gain-based effect pedals include the following:

• Preamp Pedals
• Boost Pedals
• Overdrive Pedals
• Distortion Pedals
• Fuzz Pedals

Preamp Pedals

What is preamplification? Preamplification is a gain stage where the audio signal is amplified to a level for processing and improved noise tolerance. The preamp in a pedal can typically be overdriven to add saturation/compression/distortion to the signal through some preamps that provide very clean gain.

Preamp pedals are designed to bring a signal level up to a certain point. They work well when left in the on position.

• Click here to check out preamp pedals at Sweetwater
• Click here to check out preamp pedals at B&H Photo/Video
• Click here to check out preamp pedals on Amazon

Boost Pedals

What is boost? Boost is practically the same thing as preamplification. Boost amplifies the signal with clean gain to “boost” the level of the signal without adding any colouration.

A good boost pedal should afford us some extra gain for the parts of playing that require it (solos, etc.). The gain should be clean, though some boost pedals offer some tone control as well.

• Click here to check out boost pedals at Sweetwater
• Click here to check out boost pedals at B&H Photo/Video
• Click here to check out boost pedals on Amazon

Overdrive Pedals

What is overdrive? Overdrive happens naturally when a signal is amplified just past its clean gain limits. Past this point, the peaks/troughs of the instrument signal are compressed and “soft-clipped,” resulting in warm saturation in the signal. The overdrive circuit is designed to achieve this soft distortion with or without signal amplification. More overdrive can be achieved by playing harder/louder.

Overdrive is an awesome effect that plays with the dynamics of the signal. In other words, with overdrive, we get more the harder we play. This also means we can stay clean when playing softer.

• Click here to check out overdrive pedals at Sweetwater
• Click here to check out overdrive pedals at B&H Photo/Video
• Click here to check out overdrive pedals on Amazon

Distortion Pedals

What is distortion? Distortion, in terms of pedals, has to do with hard clipping of the signal, in which the waveform is more significantly deformed. Distortion yields a great deal of saturation to the signal’s harmonics and sounds more aggressive than overdrive. Distortion affects the signal across all dynamics.

As mentioned, distortion pedals are less dynamic than their overdrive counterparts. With a distortion pedal, everything quiet and loud gets distorted.

Distortion pedals give us that grittiness without having to crank our amps up to eleven.

• Click here to check out distortion pedals at Sweetwater
• Click here to check out distortion pedals at B&H Photo/Video
• Click here to check out distortion pedals on Amazon

Fuzz Pedals

What is fuzz? Fuzz is beyond hard-clipping distortion to the point where the signal becomes square-like and difficult to control. Significant odd-order harmonics are produced, and the compression is so much that any playing dynamic will be affected by the fuzz.

Fuzz is an interesting effect. It’s fundamentally a compression pedal that acts to distort a signal so much that it becomes square-like. This hard compression is similar to limiting, and the resulting output signal is similar to what a synth pedal could output.

• Click here to check out fuzz pedals at Sweetwater
• Click here to check out fuzz pedals at B&H Photo/Video
• Click here to check out fuzz pedals on Amazon

To learn more about these gain-based effects pedals, check out my article, Guitar Pedals: Boost Vs. Overdrive Vs. Distortion Vs. Fuzz.

Spectral Effects

Spectral processes refer to the frequency spectrum of audio and, sometimes, to the panoramic spectrum of an audio mix.

These effects pedals have to do with altering the frequency information of the audio and include the following:

• Equalization Pedals
• Wah Pedals
• Envelope Filter Pedals

Equalization Pedals

What is equalization? Audio equalization (EQ) is the process of altering the amplitude of certain frequencies/frequency bands in an audio signal. This includes filtering out sound below or above a certain cut-off frequency (high-pass and low-pass filtering, respectively). It also refers to shelving, notching, boosting and cutting, which we’ll get to in a moment.

By boosting and cutting various frequencies, we can effectively shape our tone to how we see fit. This means EQ will not only help us sound better alone but will also help musicians find their place within the greater context of the mix.

The types of EQ in equalization pedal circuits are typically parametric, semi-parametric or graphic. Click the links for more information on each compressor type.

• Click here to check out equalizer pedals at Sweetwater
• Click here to check out equalizer pedals at B&H Photo/Video
• Click here to check out equalizer pedals on Amazon

To learn more about EQ pedals, check out the following My New Microphone article:
• What Are EQ Pedals (Guitar/Bass) & How Do They Work?

Wah Pedals

What is Wah? Wah (or Wah-Wah) is a filtering effect that is common on guitars. Wah is achieved by sweeping one or more boosts in EQ up and down in frequency, thereby mimicking the human vowel sound of “wah”.

Wah pedals are generally built as expression pedals. Rocking the pedal back and forth will sweep the peak response of a frequency filter up and down, creating a spectral glide known as the “wah effect”.

• Click here to check out wah pedals at Sweetwater
• Click here to check out wah pedals at B&H Photo/Video
• Click here to check out wah pedals on Amazon

To learn more about wah pedals, check out the following My New Microphone article:
• What Are Wah-Wah Guitar Effects Pedals & How Do They Work?

Envelope Filter Pedals

What is envelope filtering? Envelope filtering is the filtering triggered by the envelope or transients of a signal. These filters, therefore, act according to the dynamic rise and fall of a note (or chord) from the instrument.

The sound of an envelope filter is often described as wah-like or like a duck’s quack. Various filter types (high-pass, band-pass or low-pass) can be triggered when a note is struck.

• Click here to check out envelope filter pedals at Sweetwater
• Click here to check out envelope filter pedals at B&H Photo/Video
• Click here to check out envelope filter pedals on Amazon

To learn more about envelope filter pedals, check out the following My New Microphone article:
• What Are Envelope Filter Effects Pedals & How Do They Work?

Modulation Effects

Modulation effects modify the source audio signal with another signal (generally an oscillator) and are generally used to give the sound a sense of movement. Plenty of effects fall into the modulation category, ranging from the weird-and-whacky ring modulation to the lush and wide chorus effect.

The modulation effects found in pedals include:

• Leslie/Rotary Pedals
• Chorus Pedals
• Vibrato Pedals
• Tremolo Pedals
• Phaser Pedals
• Flanger Pedals
• Ring Modulation Pedals

When choosing a modulation pedal, listen to how it moves and colours the sound. Look for speed, intensity, feedback, tap tempo, and mix controls along with stereo capability.

Leslie/Rotary Pedals

What is the Leslie/rotating effect? The Leslie effect was initially produced by the famous Leslie speaker, a unit with a rotating speaker. As the speaker rotates, three separate effects are produced in the [stationary] listener’s ears. Those effects are tremolo, the Doppler effect (vibrato) and Phasing.

So then, a Leslie/rotary pedal is essentially a 3-in-1 modulation pedal, combining the effects of a tremolo, vibrato and phaser. The result, as one would expect, is that of a Leslie speaker without a Leslie speaker!

• Click here to check out Leslie/rotary pedals at Sweetwater
• Click here to check out Leslie/rotary pedals at B&H Photo/Video
• Click here to check out Leslie/rotary pedals on Amazon

Chorus Pedals

What is chorus? Chorus is an effect that produces copies of a signal (the original signal and each of its copies has its own “voice”) and detunes each voice to produce a widening and thickening of the sound. Each voice interacts with the other voices to produce slight modulation and an overall larger-than-life sound.

Chorus pedals make the tone sound large and wide by effectively adding voices to the original sound.

• Click here to check out chorus pedals at Sweetwater
• Click here to check out chorus pedals at B&H Photo/Video
• Click here to check out chorus pedals on Amazon

To learn more about chorus pedals, check out the following My New Microphone article:
• What Are Chorus Pedals (Guitar/Bass FX) & How Do They Work?

Vibrato Pedals

What is vibrato? Vibrato is a fast but slight up-and-down variation in pitch. Vibrato is used in signing and in instruments to add character and improve tone.

By varying the pitch, vibrato can yield everything from subtle waviness to wild pitch oscillation.

• Click here to check out vibrato pedals at Sweetwater
• Click here to check out vibrato pedals at B&H Photo/Video
• Click here to check out vibrato pedals on Amazon

To learn more about vibrato pedals, check out the following My New Microphone article:
• What Are Vibrato Guitar Effects Pedals & How Do They Work?

Tremolo Pedals

What is tremolo? Tremolo is a fast variation in amplitude. Tremolo is similar to vibrato, except that it acts on amplitude/level rather than pitch.

By varying the pitch, vibrato can yield everything from subtle waviness to deep-sea-sounding volume oscillation.

• Click here to check out tremolo pedals at Sweetwater
• Click here to check out tremolo pedals at B&H Photo/Video
• Click here to check out tremolo pedals on Amazon

To learn more about tremolo pedals, check out the following My New Microphone article:
• What Are Tremolo Guitar Effects Pedals & How Do They Work?

Phaser Pedals

What is phaser? Phaser is a modulation audio effect whereby a series of peaks and troughs are produced across the frequency spectrum of the signal’s EQ. These peaks and troughs vary over time, typically controlled by an LFO (low-frequency oscillator), to create a sweeping effect known as phaser.

Phasers sound pretty psychedelic and are a popular modulation effect.

• Click here to check out phaser pedals at Sweetwater
• Click here to check out phaser pedals at B&H Photo/Video
• Click here to check out phaser pedals on Amazon

To learn more about phaser pedals, check out the following My New Microphone article:
• What Are Phaser Pedals (Guitar/Bass FX) & How Do They Work?

Flanger Pedals

What is flanger? Flanger is a modulation audio effect whereby a signal is duplicated, and the phase of one copy is continuously being shifted. This changing phase causes a sweeping comb filter effect where peaks and notches are produced in the frequency spectrum or the signal’s EQ.

Flangers tend to sound like more “natural” versions of phasers. They’re often regarded as “jet whoosh” as they make a similar effect to a plane flying overhead.

• Click here to check out flanger pedals at Sweetwater
• Click here to check out flanger pedals at B&H Photo/Video
• Click here to check out flanger pedals on Amazon

To learn more about flanger pedals, check out the following My New Microphone article:
• What Are Flanger Pedals (Guitar/Bass FX) & How Do They Work?

Ring Modulation Pedals

What is ring modulation? Ring modulation is an amplitude modulation effect where two signals (an input signal and a modulator signal) are summed together to create two brand new frequencies: the sum and difference of the input and modulator signals. The modulator wave is typically a simple wave selected by the effects unit, while the carrier signal is the audio signal at the input.

The sound of ring modulation is difficult to describe but sounds rather robotic and tinny.

• Click here to check out ring modulation pedals at Sweetwater
• Click here to check out ring modulation pedals at B&H Photo/Video
• Click here to check out ring modulation pedals on Amazon

To learn more about ring modulation pedals, check out the following My New Microphone article:
• What Are Ring Modulation Effects Pedals & How Do They Work?

Time-Based Effects

Time-based effects include all processes where some form of time manipulation occurs to the signal. The most obvious examples of time-based effects are:

• Delay Pedals
• Reverb Pedals

Delay Pedals

What is delay? Delay, in terms of pedal signal processing, is a time-based effect where an input signal is recorded for a relatively short amount of time and is played back after a set period of time after the initial recording.

Delay types found in pedals include, but are not limited to, the following:

• Tape delay: tape delay pedals emulate the sound of delay caused by mechanically shifting magnetic tape. Tape delay is often used for slapback delay.
• Analog (bucket brigade) delay: a delay circuit that utilizes bucket brigade chipsets, which degrade each passing delay.
• Digital delay: digital delay pedals convert the dry signal to digital, process the delay, and output the delays converted back as analog. This results in a very clean delay effect with little to no degradation (unless the digital pedal is designed to emulate older delays).
• Shimmer delay (aka octave delay): these pedals combine delay with pitch-shifting so that the delays are pitched differently than the dry signal.
• Reverse delay: these pedals record short sections of the signal and play it back in reverse with delay.

Delay is a versatile effect but often has a few core controls to look out for, including:

• Effect Level (Wet/Dry) Control
• Delay Time
• Feedback
• Tap Tempo

• Click here to check out delay pedals at Sweetwater
• Click here to check out delay pedals at B&H Photo/Video
• Click here to check out delay pedals on Amazon

To learn more about ring modulation pedals, check out the following My New Microphone article:
• What Are Delay Pedals (Guitar Effects) & How Do They Work?

Reverb Pedals

What is reverb? Reverberation happens when a sound wave hits a surface (or multiple surfaces) and reflects back to the listener at varying times and amplitudes. This creates a complex echo that holds information about the physical space.

Reverb types found in pedals include, but are not limited to, the following:

• Room/ Chamber/ Hall: room, chamber and hall reverb pedals emulate the reverbs of rooms, chambers and concert halls, respectively. As you can guess, the reverb sounds larger in halls than in chambers and larger in chambers than in rooms.
• Plate: plate reverb pedals emulate the sound of plate reverb, a type of reverb that relies on the vibration of a sheet of metal and a pickup that captures said vibration.
• Spring: spring reverb pedals emulate the sound of spring reverb, a type of reverb that relies on the vibration of a long metal spring within a spring reverb unit and a pickup that captures said vibration.

Reverb is a versatile effect but often has a few core controls to look out for, including:

• Mode/Type/Model
• Mix (Effect Level)
• Pre-Delay
• Decay Time
• Damping

• Click here to check out reverb pedals at Sweetwater
• Click here to check out reverb pedals at B&H Photo/Video
• Click here to check out reverb pedals on Amazon

To learn more about ring modulation pedals, check out the following My New Microphone article:
• What Are Reverb Pedals (Guitar Effects) & How Do They Work?

Utilities

• Tuner Pedals
• Expression Pedals
• Volume Pedals
• Buffer Pedals
• Switcher Pedals
• Looper Pedals
• Controller Pedals

Tuner Pedals

What is tuning? Tuning an instrument is the act of tightening or loosening the tension of the individual strings so that each string produces a defined and specific musical note.

Sure, these pedals aren’t the most flashy. In fact, they should do little to affect the tone of the signal. That being said, being in tune is paramount in sounding great, and a tuner pedal is, therefore, a worthy investment for every pedalboard!

• Click here to check out tuner pedals at Sweetwater
• Click here to check out tuner pedals at B&H Photo/Video
• Click here to check out tuner pedals on Amazon

Expression Pedals

What is expression? In the context of pedals, the term expression refers to a variable treadle-style pedal control rather than an on/off switch or a rotary knob. These pedals are similar to the expression pedals or keyboards, pianos and organs.

There are plenty of pedals on the market that have expression pedal inputs for additional functionality when combined with an expression.

• Click here to check out expression pedals at Sweetwater
• Click here to check out expression pedals at B&H Photo/Video
• Click here to check out expression pedals on Amazon

Volume Pedals

What is volume? In the context of audio signals, volume refers to the amplitude of the signal and, more specifically, to the attenuation of the signal (rather than to the amplification of the signal). Controlling volume should, by itself, leave the signal waveform unaltered except for the overall amplitude.

Volume pedals are easy to understand. Depending on how the pedal is set up, the expression pedal will allow maximum signal in either toe-down or heel-down position and no signal at the opposite position.

• Click here to check out volume pedals at Sweetwater
• Click here to check out volume pedals at B&H Photo/Video
• Click here to check out volume pedals on Amazon

Buffer Pedals

What is buffering? In the context of audio signals and pedals, buffering has to do with impedance and proper signal transfer. Long, unbalanced patch cords/cables and pedals with high output impedance can significantly degrade signal quality. A Buffer drops impedances to help preserve the signal.

Pedal signals are carried through unbalanced patch cables. Other instruments that may utilize effects pedals, including synthesizers, may also carry unbalanced signals. The pedals themselves are typically designed with unbalanced inputs and outputs.

• Click here to check out buffer pedals at Sweetwater
• Click here to check out buffer pedals at B&H Photo/Video
• Click here to check out buffer pedals on Amazon

To learn more about buffer pedals, check out the following My New Microphone article:
• Are Buffer Pedals Necessary & Where Do They Go In A Chain?

Switcher Pedals

What is switching? In the context of effects pedals, switching is the act of changing/switching the path of the audio signal. With a tap of a button, we can change the signal path to go through a different set of pedals, a different amp, or any other device(s).

Switcher pedals are very useful utility pedals. There’s a lot that can be done with them, for example:

• Redirecting the audio signal to a completely new line of pedals. This can effectively turn several pedals on/off with a single button.
• Switching between amplifiers. A switcher can have each output sent to a different amp if need be to change the tone.

• Click here to check out switcher pedals at Sweetwater
• Click here to check out switcher pedals at B&H Photo/Video
• Click here to check out switcher pedals on Amazon

To learn more about switch pedals, check out my article What Is A Guitar Pedal Switcher & How Do Switchers Work?

Looper Pedals

What is looping? Looping is the process of recording a period of audio and having it repeat. Once a loop is established, it is common to stack other audio recordings on top of the loop (or take other audio recordings out of the loop).

Looper pedals are awesome units to have in a rig. They range from simple to complex with a variety of functions. We will often be capable of adding additional loops on top of an original loop and be able to remove loops as we see fit.

• Click here to check out looper pedals at Sweetwater
• Click here to check out looper pedals at B&H Photo/Video
• Click here to check out looper pedals on Amazon

To learn more about looper pedals, check out the following My New Microphone article:
• What Are Looper Pedals (Guitar/Bass FX) & How Do They Work?

Controller Pedals

What are controller pedals? Controller pedals will effectively control either an amplifier or software on a computer. These pedals do not necessarily have effect circuits of their own but rather act to control signal flow in other pieces of the rig.

There are plenty of controller pedals that simply switch between an amp’s clean and distortion channels. In a way, these controller pedals are also line-switcher pedals.

• Click here to check out controller pedals at Sweetwater
• Click here to check out controller pedals at B&H Photo/Video
• Click here to check out controller pedals on Amazon

Synth Pedals

What is audio synthesis? Audio synthesis is loosely defined as the audio signals generated by electronic musical instruments called synthesizers. Synth pedals turn instrument audio signals into “synthesizer-like” sound waves.

The vast majority of synth pedals do not actually alter the waveform of the instrument signal itself, as is the case with pretty much all other pedals. Rather, a synth pedal will typically detect the pitch of the instrument's signal and use that pitch to tune and engage its built-in synthesizer oscillator(s).

So, a synth pedal, generally speaking, will use the instrument signal only as a control signal rather than actually affecting the signal and tone itself.

• Click here to check out synth pedals at Sweetwater
• Click here to check out synth pedals at B&H Photo/Video
• Click here to check out synth pedals on Amazon

To learn more about synth pedals, check out the following My New Microphone article:
• What Are Synth Pedals (Guitar/Bass FX) & How Do They Work?

Miscellaneous Effects

Miscellaneous effects include all the odd effects that don't fit into any of the categories above. Most pedals on the market will belong to at least one of the aforementioned categories, but there will be some that do not.

Back to the Table Of Contents.

Mono Vs. Stereo Effect Pedals

Pedals have inputs and outputs, which can either be mono or stereo.

Mono has a single channel of audio, while stereo has a left and right channel of audio.

Though we naturally hear in stereo, many instruments are mono.

Choosing a pedal with stereo outputs allows us to record or otherwise playback the sound in two channels, which is beneficial for a more realistic mix.

Stereo outputs are typically reserved for modulation and time-based effects, which act to widen or otherwise fill the sound field.

Stereo pedals will give us the option of going stereo but typically perform just as well in mono (typically by connecting to the left output channel only).

So, if you're considering recording, sending to a stereo PA system, or even connecting to two amplifiers simultaneously, a stereo pedal will give you the option.

• Click here to check out stereo pedals at Sweetwater
• Click here to check out stereo pedals at B&H Photo/Video
• Click here to check out stereo pedals on Amazon

Back to the Table Of Contents.

True Bypass Vs. Buffered Bypass Pedals

Individual single-effect pedals are either true bypass or buffered bypass. Knowing the difference between the two and understanding how they interact in a pedalboard setup will help you make more informed decisions about your pedal purchases.

True bypass is a switching circuit that will route the guitar signal directly from the input to the output when the pedal is turned off. A pedal with true bypass will effectively act as an extension of the guitar cable when turned off and have little to no effect on signal tone/degradation.

Note that longer cable lengths are subjected to “tone suck” thanks to cumulative capacitance. High-end frequencies are effectively filtered out, and the tone suffers.

Buffered bypass keeps part of the circuit in the signal path regardless of whether the pedal's main circuit is active. A pedal with buffered bypass, then, will maintain consistent output impedance and keep a signal more level in signal strength and timbre throughout the system.

By keeping part of the circuitry in the signal path even when the pedal is off, the buffered bypass pedal will colour the audio signal in one way or another.

So then, which should you buy? Let's look at the pros and cons lists for each pedal style to help you decide:

Pros Of True Bypass

True bypass removes the pedal circuit completely from the signal path when off. This means that the pedal will have no effect on the sound of the audio signal when it's turned off.

Cons Of True Bypass

By removing the pedal from the signal chain when turned off, true bypass pedals effectively elongate the signal wire (audio cable), which can cause tone suck in longer runs. We typically begin having issues with unbalanced cables over 25 feet long.

Since true bypass immediately disconnects the pedal's circuit from the signal chain, turning these pedals on/off can result in pops and clicks. Furthermore, turning these pedals off may cause hard stops (no tail) in time-based effects such as delay and reverb.

Finally, true bypass pedals are often more expensive than their buffered bypass counterparts.

• Click here to check out true bypass pedals at Sweetwater
• Click here to check out true bypass pedals at B&H Photo/Video
• Click here to check out true bypass pedals on Amazon

Pros Of Buffered Bypass

Like proper buffer pedals, buffered bypass pedals offer impedance and capacitance altering. This effectively buffers the signal, bringing its signal strength, impedance and capacitance to appropriate levels even when turned off. This allows for longer cable runs since each buffered bypass pedal “restarts” the cable length.

Unlike true bypass pedals, buffered bypass pedals do not produce the pops and clicks when turned off/on and do not necessarily hard-stop their effects when disengaged.

Buffered bypass pedals often typically cost less, all else being equal.

Cons Of Buffered Bypass

Buffered bypass pedals colour the tone whether they're engaged or not, which can lead to unwanted results when there are too many pedals on the board.

• Click here to check out buffered bypass pedals at Sweetwater
• Click here to check out buffered bypass pedals at B&H Photo/Video
• Click here to check out buffered bypass pedals on Amazon

Related My New Microphone article:
• What Does ‘True Bypass’ Mean In A Guitar Pedal?

In my opinion, a good mix of true and buffered bypass pedals is the way to go when designing a pedalboard layout.

Back to the Table Of Contents.

Planning Out The Pedalboard

When buying a new effect pedal, it's worth considering how it will integrate into the larger pedalboard setup.

Understanding how the pedal will interact with the others and where the pedal should go ahead of time is useful information to have when making a decision.

Additionally, if you already have pedals on your board, perhaps it's best to purchase an effect you don't already have. For example, a third fuzz pedal may not be appropriate when you don't have a proper reverb.

Though not the most critical aspect of a new pedal purchase, it's worth pondering the plan of the pedalboard and how the new pedal(s) will be incorporated.

Related My New Microphone article:
• Ultimate Guide To Setting Up A Guitar Effects Pedalboard
• How To Order Guitar/Bass Pedals (Ultimate Signal Flow Guide)
• How Many Guitar Effect Pedals Is Too Many?

Back to the Table Of Contents.

Know The Additional Costs Of Effect Pedal Accessories

• Power Supplies & Power Accessories
• Pedalboards & Accessories
• Patch Cables

Power Supplies & Power Accessories

Pedals require power to function. Power supplies include batteries, dedicated power blocks and their power cables, and the power cable adapters for the pedals.

Most pedals can run on 9V batteries, though some pedals use other battery types.

Generally speaking, though, it's best to power the pedals directly via a dedicated pedal power block and the appropriate power adapter cables.

• Click here to check out pedal power supplies at Sweetwater
• Click here to check out pedal power supplies at B&H Photo/Video
• Click here to check out pedal power supplies on Amazon

Pedalboards & Accessories

If you're using multiple pedals, you'll benefit greatly from a pedalboard. Opting for a pedalboard with good adhesives and a proper carrying case/bag is recommended for the performance and longevity of the entire setup.

• Click here to check out pedalboards at Sweetwater
• Click here to check out pedalboards at B&H Photo/Video
• Click here to check out pedalboards on Amazon

Related My New Microphone article:
• Top 11 Best Pedalboard Brands On The Market

Patch Cables

Of course, we need patch cables to connect the pedals together. These cables are typically short 1/4″ TS cables, but some pedals have the options for MIDI and other connections as well.

• Click here to check out pedal patch cables at Sweetwater
• Click here to check out pedal patch cables at B&H Photo/Video
• Click here to check out pedal patch cables on Amazon

Related My New Microphone articles:
• Top 11 Best Guitar/Bass Patch Cable Brands In The World
• How Do Patch Cables Carry Audio? (Guitar, Bass, Synth, Etc.)

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The post The Ultimate Effects Pedal/Stompbox Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

We're currently living in the age of digital audio, and in-the-box mixing within a digital audio workstation is commonplace. Plugins are, therefore, invaluable assets for the modern audio engineer.

Whether recorded naturally or as an audio effect, reverb plays a significant role in music production and sound design. So, it makes sense how so many reverb plugins have come to market. With so many reverb plugins out there, we'll discuss the top 11.

What is the reverb effect in terms of audio? The reverb effect recreates the natural result of Reverberation, which happens when a sound wave hits a surface (or multiple surfaces) and reflects back to the listener at varying times and amplitudes. This process creates a complex echo that holds information about the physical space.

There are various types of reverb effects, so in our top 11, we'll actually be discussing the top options of 4 different categories. These reverb types are:

• Spring
• Plate
• Algorithmic
• Convolution

The Top 11 Best Reverb Plugins Are:

1. Eventide Spring Reverb (spring reverb)
2. AudioThing Springs (spring reverb)
3. PSP Audioware Springbox (spring reverb)
4. Arturia Rev PLATE-140
5. LiquidSonics Lustrous Plates (plate reverb)
6. UAD Pure Plate (plate reverb)
7. Softube TSAR-1 (algorithmic reverb)
8. Eventide Blackhole (algorithmic reverb)
9. LiquidSonics Reverberate 3 (convolution reverb)
10. Audio Ease Altiverb XL 8 (convolution reverb)
11. SIR Audio Tools SIR3 (convolution reverb)

It should go without saying that any “top X” article is subject to bias. I would expect the next person's top 11 to be different from mine, but I hope there would be plenty of overlap.

That being said, I believe these plugins to be the best reverb plugin options today. The criteria I used to judge these plugins include the following:

• Sonic performance: how does the reverb plugin sound subjectively/objectively?
• Graphic user interface (GUI): how does the reverb plugin look when loaded in the DAW?
• Ease-of-use: how user-friendly is the reverb plugin?
• Functionality: how many different functions does it serve, and/or how many parameters are available for the reverb effect?
• Accessibility/compatibility: how easy is it to acquire the reverb plugin, and what are the system requirements?

To learn why they made this list, let's discuss each of the top 11 best reverb plugins in greater detail.

Click here to return to the Recommended Gear Page.

Top 3 Best Spring Reverb Plugins

What is spring reverb? Spring reverb is produced by vibrating a spring and recording the results. An input transducer vibrates one end of the spring (that converts the audio signal into physical vibrations). The other end of the spring is connected to an output transducer (that converts the spring vibrations back into audio).

Spring reverb plugins emulate the performance of such reverb devices.

The top 3 spring reverb plugins are:

• Eventide Spring Reverb
• AudioThing Springs
• PSP Audioware Springbox

Eventide Spring Reverb

The Eventide Spring Reverb models the character of the guitar amplifier spring reverb with a notable amount of additional parameters.

Eventide's Spring Reverb captures the sound of Rockability, Garage and Surf music in a plugin that affords users much more control than vintage units.

This reverb plugin offers two virtual spring tanks (Small and Large) along with the ability to digitally morph the sound of the reverb between one and three springs. The Ribbon function found in Eventide's H9 Series plugins allows users to seamlessly blend the sound of this reverb between two distinct settings. The result is a wildly flexible spring reverb plugin.

Along with the impressive reverb effect, the H9 Series Spring Reverb features a tube-amp-style tremolo, pushing the sonic possibilities even further while maintaining a character reminiscent of many great guitar amplifiers. Route the tremolo before or after the reverb, and choose to sync the modulation to the host DAW's tempo or not.

Damp the effect at the low and/or high ends to your taste and change up the resonant characteristics of the reverb effect with ease. Dial in the standard reverb settings and have yourself a fantastic spring reverb effect in an easy-to-use audio plugin.

For more information on system requirements and authorization instructions, check out the Eventide Spring Reverb user manual.

AudioThing Springs

The AudioThing Springs features 11 vintage spring emulations along with a beautifully modelled 3-band Baxendall EQ for a distinct analog sound.

As mentioned, AudioThing's Springs has a whopping 11 different springs from which users can choose. The sonic character of each vintage spring unit has been carefully recreated via a combination of digital modelling and convolution (yes, this reverb plugin is both a spring and convolution reverb).

The 11 options the AudioThing Springs offers are:

1. A-199 (3 springs)
2. REV-25 (1 spring)
3. RA-844 (1 spring)
4. Audition (1 spring)
5. Echo Box (1 spring)
6. GBS (6 springs)
7. RE-201 (3 springs)
8. RV-1 (3 springs)
9. SR-202W (2 springs)
10. HR-12 (2 springs)
11. HVS-1 (2 springs)

In addition to all the standard reverb controls, the powerful editor provides users with a series of tools to adjust each spiring model's impulse response directly. Choose the perfect spring style for your application and dial in the ideal reverb for whatever needs that vintage spring reverb sound.

Filter the input signal and mix the dry/wet signals at the Bandwidth section of the plugin, and take full advantage of the superb Baxandall EQ at the output to fine-tune the equalization of the mixed signal.

For more information on system requirements and authorization instructions, check out the AudioThing Springs user manual.

PSP Audioware Springbox

The PSP Audioware Springbox is an excellent emulation of classic hardware spring reverberators, though not a direct model of any particular unit.

PSP's Springbox beautifully recreates the spring-like bounce on transients and offers accurate resonating reverb effects we've come to cherish about hardware spring reverbs.

Choose between 2 or 3 springs (or double of either) in mono-stereo or stereo-stereo modes. Quickly dial in 2 distinct settings (HPF, Presence, Damping, Time value and Trim) and A/B them by the flip of a virtual switch.

Convincingly classic with modern controls, the vintage sound of the Springbox can be shaped further by users via the Diffusion, Spead and Pan/Balance knobs. Use the Pan/Balance control to either pan the stereo output jointly left or right or rebalance each channel's levels.

For more information on system requirements and authorization instructions, check out the Springbox at PSP Audioware.

Top 3 Best Plate Reverb Plugins

What is plate reverb? Plate reverb is produced by vibrating a plate and recording the results. An input transducer will convert the audio signal into a mechanical vibration to get the plate moving. As the plate vibrates, an output transducer will convert these vibrations into an electrical audio signal, which sounds like the input signal with reverb.

The top 3 plate reverb plugins are:

• Arturia Rev PLATE-140
• LiquidSonics Lustrous Plates
• UAD Pure Plate

Arturia Rev PLATE-140

The Arturia Rev PLATE-140 is a circuit-accurate recreation of the iconic EMT 140 reverb and its vacuum tube preamp.

Like the original EMT 140 (first released back in 1957), Arturia's Rev PLATE-140 offers the silky-smooth, resonant tones of vintage plate reverb with ease. Dialling in the perfect plate reverb of the Rev PLATE-140 is made easy with straightforward controls and an authentic-looking user interface (though much different than the original hardware).

This plugin offers different 3 plate models for a variety of reverb options.

Along with the evolving decaying characteristics we'd expect from such an emulation, Arturia's 140 brings forth a chorus modulation unit and post-equalizer for even more control over the superb sound of the plugin.

Use the modelled tube preamp to inject a vintage character to the reverb by adding subtle saturation to overt analog-style soft clipping.

For more information on system requirements and authorization instructions, check out the Arturia Rev PLATE-140 user manual.

The UAD EMT 140 is another superb EMT 140 emulation, though this plugin requires the appropriate UAD hardware to be run.

LiquidSonics Lustrous Plates

The LiquidSonics Lustrous Plates recreates seven incredible plate reverbs.

LiquidSonics has mapped seven advanced plate reverb algorithms into this powerful plugin using its proprietary Temporal Acoustic Spectral Mapping technology. TASM profiles the sound of real plates using multiband dynamic capture and analysis to provide a beautiful sonic representation.

So, the LiquidSonics Lustrous Plates is considered an algorithmic/plate reverb plugin. It offers the wonderful sound and diffusion of real plates with the controls of an algorithmic reverb.

The plate options provided by the Lustrous Plates are:

• Chrome: rich, full-bodied plate with a classic plate multiband decay profile
• Silver: light, airy plate with de-emphasized low-mids for enhanced clarity
• Steel: similar to the chrome plate with a reduced low band decay time
• Rhodium: bright and rich, with a very neutral decay profile
• Beryllium: very reflective, lustrous metal inspiring a plate with a bright tone
• Corbomite: very dense and heavy plate
• Iridium: very dense, with a highly emphasized low decay profile

Choose 1 of the 7 plates and adjust the pre-delay and width, modulation, and overall mix of the effect. Utilize the left-side panel to dial in the perfect amount of reverb damping time and frequency dispersion for the perfect plate reverb.

For more information on system requirements and authorization instructions, check out the LiquidSonics Lustrous Plates user manual.

UAD Pure Plate

The UAD Pure Plate is another superb plate reverb plugin from UAD (along with the EMT 140 emulation I briefly mentioned earlier).

In fact, UAD's Pure Plate sounds a lot like the EMT 140. However, rather than having two direct emulations of the 140, I decided to add the Pure Plates to this list instead. That being said, the EMT 140 is likely a better choice due to its greater functionality.

This relatively affordable and straightforward plugin gets us to lovely plate reverb with minimal effort on our part. Pure Plates has all the essentials of an ideal plate reverb plugin without all the bells and whistles. It's a user-friendly, sonically superior reverb.

Get all the warmth and texture you need and want from effectively 7 controls: the 3-way low-cut (high-pass) filter and pre-delay switches, reverb dial roll, 2-band shelving EQ (bass and treble), balance, mix and wet solo.

For more information on system requirements and authorization instructions, check out the UAD Plugins manual.

Top 3 Best Algorithmic Reverb Plugins

What is algorithmic reverb? Algorithmic reverbs utilize digital algorithms with delay lines, loops and filters to simulate the general effects of a natural reverberant environment. These algorithms are often programmed to achieve space emulations such as rooms, chambers, halls and cathedrals.

The top 3 algorithmic reverb plugins are:

• Softube TSAR-1
• Exponential Audio R4
• Eventide Blackhole

Softube TSAR-1

The Softube TSAR-1 is a true stereo algorithmic reverb.

Softube's TSAR-1 is remarkably versatile, even as an algorithmic reverb. This modernized reverb will effectively get us whatever reverb sound we're after: from light and vibrant to dark and dreary to otherworldy to incredibly natural, this reverb will provide it.

This feature-rich plugin has a superb user interface reminiscent of early digital hardware units. Its interactive display makes it easy to dial in the exact reverb we want or, if we so choose, to select one of the many amazing presets.

Adjustable parameters in the TSAR-1 include the typical pre-delay, time, density, tone and high-cut (low-pass) filter, diffusion and mix. The modulation of the plugin offers superb vintage chorus and modern movement alike. The algorithms include early reflection types (large, medium or small rooms), and these reflections can be mixed into the signal exactly how we see fit.

For more information on system requirements and authorization instructions, check out the Softube Plugins user manual.

Eventide Blackhole

The Eventide Blackhole is defined accurately as an “otherworldly reverb”. It only has a single algorithm with a history that ties back to the superb rackmount DSP4000 (first released in 1994).

Eventide's Blackhole got its start in the 90s and is as much of a great reverb now as it was then. This effect, now in plugin form, allows users to create virtual spaces that would otherwise never be possible on Earth.

The Blackhole's single algorithm boasts a wide range of sizes, soft attacks and ethereal release times. From the vastness of outer space (if sound could be heard in the vacuum) to the impossible tightness of negative space, the Eventide Blackhole pushes the reverb effect beyond the physical realm.

The novel Gravity control of the Blackhole reverses the arrow of time by inverting the reverb's decay. As was mentioned previously in the discussion of the Eventide Spring Reverb, the Ribbon allows for continuous morphing between two settings. The featured Hot Switch will enable users to change any combination of parameters simultaneously.

Of course, we love talking about the extremes. However, the Blackhole is also a superb tool for everyday reverb applications. This plugin is equally at home in standard mixing procedures as it is in the unknown.

For more information on system requirements and authorization instructions, check out the Eventide Blackhole user manual.

Other notable algorithmic reverb plugins:

• Togu Audio Line TAL Reverb 2 (link to check the price at Splice)
• ValhallaDSP Room (link to check the price at Valhalla)
• Klevgrand Kleverb (link to check the price at Klevgrand)
• Acon Digital Verberate 2 (link to check the price at Sweetwater)
• 2CAudio Aether (link to check the price at 2CAudio)
• Rob Papen RP-Verb 2 (link to check the price at Rob Papen)

Top 3 Best Convolution Reverb Plugins

What is convolution reverb? Convolution reverb is achievable through a rather involved process. A physical acoustic space is recorded, sampled and analyzed thoroughly. Profiles are made for the initial reflections, decay time and frequency damping. An algorithm is then created to simulate that physical space.

The top 3 convolution reverb plugins are:

• LiquidSonics Reverberate 3
• Audio Ease Altiverb
• SIR Audio Tools SIR3

LiquidSonics Reverberate 3

The LiquidSonics Reverberate 3 is a modulated true-stereo convolution reverb.

LiquidSonics' Reverberate 3 takes impulse responses of legendary hardware reverbs and expands their sonic possibilities beyond what could seemingly even be achieved in hardware.

With a comprehensive set of editing and modulation tools and proprietary Fusion-IR technology, this plugin takes any third-party stereo or true stereo impulse response to the next level.

Mix various IR emulations together, add or take away effects, expand the stereo image, or adjust the original IR in any number of ways. In addition to being able to recreate the sound of legendary reverb units, the Reverberate 3 allows us to morph them into entirely new sonic effects.

This is another complex plugin that is impossible to explain in a few paragraphs. To learn more about its superb features, including Fusion-IR editing, enhanced true stereo simulation and extended split modulation, consider reading the manual linked below.

For more information on system requirements and authorization instructions, check out the LiquidSonics Reverberate 3 user manual.

Audio Ease Altiverb XL 8

The Audio Ease Altiverb XL 8 is proclaimed by Audio Ease as the successor of the original, professional convolution reverb.

This list wouldn't be complete without this industry-standard convolution reverb plugin. This convolution reverb plugin has it all from the Sydney Opera House and Cathedral Notre Dame to the cockpit of a jumbo jet and a private washroom to various natural caves.

The XL version of this excellent plugin offers up to 5.1 surround input and output processing. Whether it's recreating the space for ADR in the next big movie release or mixing whatever style of music you're into, the Altiverb XL 8 is ready to deliver the most professional results on the market today. And being industry standard, you'll get along with other sessions famously as a professional audio engineer with this awesome plugin.

There's much more to say about this plugin, yet its continued success on the market speaks for itself.

For more information on system requirements and authorization instructions, check out the Altiverb XL 8 at Audio Ease.

SIR Audio Tools SIR3

The SIR Audio Tools SIR3 is a user-friendly, high-quality convolution reverb plugin.

With a wide variety of excellent HDIR impulse responses made by Pinguin Ingenieurbüro from Hamburg, the SIR3 will convincingly transport our audio into practically any physical space we need it to. Whether in post-production or music production, this plugin is a go-to.

The plugin offers control over imported IRs via the basic pre-delay, decay, pitch, early reflections cap, mix, forward/reverse and input controls. Further tweaking of the reverb is made possible with an impressive modulation section.

Detailed controls allow users to dial in frequency-dependent damping and superb dynamic control (with sidechain functionality).

For more information on system requirements and authorization instructions, check out the SIR Audio Tools SIR3 user manual.

Other notable convolution reverb plugins:

• Lernvall Audio LAConvolver
• LiquidSonics Seventh Heaven

If you're interested in reading what my friends at Integraudio believe to be the best reverb plugins, visit their site by clicking here!

Former Top Reverb Plugin Picks

Here are plugins that used to be on this list and the reasons they are no longer.

Audio Ease Altiverb XL 7 (Discontinued/Upgraded)

The Audio Ease Altiverb XL 7 (discontinued/upgraded to version 8) is proclaimed by Audio Ease as the successor of the original, professional convolution reverb. It was featured in this article from 2021 (original publishing year) to 2023.

Compatibility

The Audio Ease Altiverb XL 7 is compatible with Mac OS and Windows OS and comes in AAX, AU, VST, RTAS, MAS, TDM and AudioSuite formats.

This list wouldn't be complete without this industry-standard convolution reverb plugin. This convolution reverb plugin has it all from the Sydney Opera House and Cathedral Notre Dame to the cockpit of a jumbo jet and a private washroom to various natural caves.

The XL version of this excellent plugin offers up to 5.1 surround input and output processing. Whether it's recreating the space for ADR in the next big movie release or mixing whatever style of music you're into, the Altiverb XL 7 is ready to deliver the most professional results on the market today. And being industry standard, you'll get along with other sessions famously as a professional audio engineer with this awesome plugin.

There's much more to say about this plugin, yet its continued success on the market speaks for itself.

iZotope Exponential Audio R4 (Discontinued)

The iZotope Exponential Audio R4 (discontinued) was a world-class reverb from a world-class plugin designer (Exponential Audio), now owned by the renowned audio plugin company iZotope. It was featured in this article from 2021 (original publishing year) to 2023.

Compatibility

The iZotope Exponential Audio R4 is compatible with Mac OS and Windows OS and comes in AAX, AU and VST formats.

iZotope's Exponential Audio R4 is incredibly powerful. Its comprehensive and creative range of controls allows for simple dialling of superb reverb effects (with over 1,200 presets) and more complex configurations of the ideal reverb (if we're willing to get into the details).

To get into all the possibilities would require a whole series of articles. From the rooms, plates, halls and chambers to plates and lesser-used but equally impressive algorithms from the Freeze, Gated and Effects categories, the R4 has it all.

Let's instead stick to the key features of the superb plugin:

• Warp controls with compression and overdrive
• Pre-delay and reverb delay are adjustable by tempo
• Chorus and Gate modules for musical effects
• 5 additional early reflection patterns
• Dynamic tail suppression
• EuControl support

Choosing the best audio plugins for your DAW can be a challenging task. For this reason, I've created My New Microphone's Comprehensive Audio Plugins Buyer's Guide. Check it out for help in determining your next audio plugin purchases.

Other Top Audio Plugin Articles

Here are additional My New Microphone articles regarding the best audio plugins by type:
• Top 11 Best Distortion Plugins For Your DAW
• Top 11 Best Saturation Plugins For Your DAW
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Digital Parametric EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW
• Top 8 Best Graphic EQ Plugins For Your DAW
• Top 10 Best Linear Phase EQ Plugins For Your DAW
• Top 10 Best Parametric EQ Emulation Plugins For DAWs
• Top 8 Best Passive EQ Emulation Plugins For Your DAW
• Top 11 Best Digital Compressor Plugins For Your DAW
• Top 11 Best FET Compressor Emulation Plugins For Your DAW
• Top 10 Best Optical Compressor Emulation Plugins
• Top 10 Best Multiband Compressor Plugins For Your DAW
• Top 11 Best Variable-Mu Compressor Emulation Plugins
• Top 11 Best VCA Compressor Emulation Plugins For Your DAW
• Top 10 Best Limiter Plugins For Your DAW
• Top 11 Best Channel Strip Plugins For Your DAW
• Top 11 Best Chorus Modulation Plugins For Your DAW
• Top 9 Best Flanger Modulation Plugins For Your DAW
• Top 9 Best Phaser Modulation Plugins For Your DAW
• Top 11 Best Tremolo Modulation Plugins For Your DAW
• Top 10 Best Analog Delay Emulation Plugins For Your DAW
• Top 10 Best Digital Delay Plugins For Your DAW
• Top 10 Best Tape Delay Emulation Plugins For Your DAW
• Top 9 Best Stereo Imaging Plugins For Your DAW
• Top 11 Best Guitar Amp Simulator Plugins For Your DAW
• Top 7 Best Noise Reduction Plugins For Your DAW

The post 11 Best Reverb Plugins (Spring, Plate, Algorithmic, Convolution) first appeared on My New Microphone and is written by Arthur Fox.

We're currently living in the age of digital audio, and in-the-box mixing within a digital audio workstation is commonplace. Plugins are, therefore, invaluable assets for the modern audio engineer.

Equalization is also invaluable, considered to be one of the most important tools in the audio engineer's toolbox.

So then it makes sense how there are so many equalizer plugins on the market. Though some parametric EQ plugins aim to emulate analog parametric EQ and even specific hardware EQs, there are plenty of digital EQ options to choose from.

In this article, we'll consider what I believe to be the top 7 stand-out digital parametric EQ plugins.

What is parametric audio equalization? Parametric EQ offers full customization of a set number of EQ filters. Each frequency band/filter may have the choice of filter type, centre/cutoff frequency, Q factor/bandwidth, and relative gain (boost/cut). It is the most flexible type of EQ.

The Top 7 Best Digital Parametric EQ Plugins Are:

1. FabFilter Pro-Q 3
2. Melda MAutoDynamicEq
3. Voxengo PrimeEQ
4. Eiosis AirEQ
5. Tokyo Dawn Records Nova GE
6. DMG Audio EQuilibrium
7. Waves Q10

It should go without saying that any “top X” article is subject to bias. I would expect the next person's top 7 to be different from mine, but I hope there would be plenty of overlap.

That being said, I believe these plugins to be the best parametric EQ plugin options today. The criteria I used to judge these plugins include the following:

• Sonic performance: how does the parametric EQ plugin sound subjectively/objectively?
• Graphic user interface (GUI): how does the parametric EQ plugin look when loaded in the DAW?
• Ease-of-use: how user-friendly is the parametric EQ plugin?
• Functionality: how many different functions does it serve and/or how many parameters are available for the parametric EQ?
• Accessibility/compatibility: how easy is it to acquire the parametric EQ plugin, and what are the system requirements?

To learn why they made this list, let's discuss each of the top 7 best parametric EQ plugins in greater detail.

Click here to return to the Recommended Gear Page.

FabFilter Pro-Q 3

The FabFilter Pro-Q 3 is an excellent fully parametric EQ plugin with up to 24 bands of completely customizable EQ filters.

The Fabfilter Pro-Q 3 is also featured in the following My New Microphone articles:
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Linear Phase EQ Plugins For Your DAW

FabFilter Pro-Q 3 is exemplary of the company's world-class plugins. This highly versatile, fully parametric EQ offers incredible sound quality and a beautiful, resizable Retina user interface. Whatever you need in an EQ, the Pro-Q 3 has it (I've added links for more detailed articles on each EQ type/function):

• Linear phase option
• Zero-latency option
• Natural phase option
• Dynamic EQ capabilities
• Per-band mono, mid-side, stereo and surround (up to Dolby Atmos 7.1.2) processing
• Intelligent solo feature
• Auto gain option
• Fully customizable spectrum analyzer (Pre-EQ, Post-EQ and external spectrum visualization)

This parametric EQ offers up to 24 user-defined bands. Add bands as you wish and select between 9 different filter shapes with slopes from 6 dB/oct to 96 dB/oct. The high-pass and low-pass filters even have a “brickwall” slope setting. Quickly add and adjust bands within the spectrum analyzer to achieve the exact EQ you need.

The Pro-Q 3 also provides superb EQ match functionality. Other features include optional collision detection for external spectrum visualization, piano roll EQ quantization, various display ranges, phase inversion and output level metering.

In typical FabFilter fashion, the Pro-Q 3 comes with interactive MIDI Learn, undo/redo and A/B switches, Smart Parameter Interpolation, “Help” documentation with interactive hints, sample-accurate automation, double-click text entry of parameter values and more.

With all of this power and functionality, the Pro-Q 3 uses minimal CPU and memory. Whether you need one instance or several hundred, the Pro Q-3 won't slow you down (unless you're using linear phase).

For more information on system requirements and authorization instructions, check out the FabFilter Pro-Q 3 user manual.

Melda MAutoDynamicEq

Melda MAutoDynamicEq, as the name would suggest, is a high-performance automatic EQ plugin with dynamic processing controls. It features 7 fully parametric bands.

The Melda MAutoDynamicEq is also featured in the following My New Microphone articles:
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW

This parametric EQ combines dynamic and automatic EQ functionality, making it a super flexible and remarkably powerful plugin.

The sound of the MAutoDynamicEq is unbelievably transparent and musical-sounding, and with so much functionality built into its design, the plugin is especially beautiful.

Within the resizable interface, the MAutoDynamicEq shows the results of your processing along with an integrated analyzer, sonogram, spectrum areas and more.

Automatic equalization is a super powerful tool in the MAutoDynamicEq plugin. This plugin does an amazing job of matching the overall EQ of an audio signal to a defined source. The source could be a predefined analysis, a separate source recording, a user-defined EQ curve or a pre-recorded mixed or mastered track. Set up the auto EQ and let the plugin do its magic, setting up the EQ bands for you.

On the dynamic side of things, the MAutoDynamicEq features expertly crafted dynamic filters complete with sidechain control.

De-essing and bass drum enhancement are made easy without the need to reach for a compressor. This superb plugin can provide the necessary dynamic control while also offering beautiful equalization.

Each of the MAutoDynamicEq's 7 bands is fully parametric, offering frequency, Q, gain and, as mentioned, dynamic controls.

For more information on system requirements and authorization instructions, check out the Melda MAutoDynamicEq user manual.

Voxengo PrimeEQ

The Voxengo PrimeEQ is a straightforward yet powerful “drag and drop” style parametric EQ plugin.

The Voxengo PrimeEQ is also featured in My New Microphone's Top 11 Best Digital Equalizer/EQ Plugins For Your DAW.

Voxengo designed the PrimeEQ to be user-friendly. The user interface is optimized with a differential display to show exactly how each band affects the overall EQ curve. Up to 32 individual parametric filters can be added to and dragged around the display, and there are 13 filter types to choose from.

All control points are adjustable on the overall EQ shape, further improving the already efficient workflow of the PrimeEQ.

This zero-latency equalizer plugin provides a real-time FFT spectrum analyzer for the processed audio. The transparent equalization can shape the sound of individual tracks, stereo signals and busses, and even 5.1 surround formats.

Voxengo has also included a preset manager, undo/redo history, and A/B comparison features to streamline its superb equalization further. If you're ever stuck trying to figure something out in this plugin, there are also contextual hint messages to help you unlock the full potential of this powerful EQ plugin.

For more information on system requirements and authorization instructions, check out the Voxengo PrimeEQ user manual.

Eiosis AirEQ

The Eiosis AirEQ is a well-laid-out and user-friendly 7-band parametric EQ plugin designed with musical, technical and sonic excellence.

The Eiosis AirEQ is also featured in My New Microphone's Top 11 Best Digital Equalizer/EQ Plugins For Your DAW.

Eiosis has developed the AirEQ to be simple, intuitive and fast. This parametric EQ plugin sounds incredible and is remarkably powerful, given its relative simplicity.

This plugin offers transparent EQ and zero-latency processing, affording users high-end equalization in real-time without demanding much CPU. It's deeply impressive as a tracking, mixing and mastering EQ.

The Character parameter of the AirEQ alters the resonance and shape of each band “beyond analog”. Slide the control from Water through Neutral to Fire to a variety of EQ flavours.

• Water: the smoothest sound possible, open and natural, ideal for transparency. Clear highs, compact bass and balanced mids.
• Fire: very tight and focused sound, with punch and impact, ideal for precision. Snappy mids, sharp highs and powerful lows.
• Neutral: the usual equalization curves, perfectly matched to their analog references.

Adjust the low-end and high-end intuitively with the Earth and Air parameters, respectively. Use the strength knob to bring in some of the original signal for easy parallel equalization.

For more information on system requirements and authorization instructions, check out the Eiosis AirEQ user manual.

Tokyo Dawn Records Nova GE

The Tokyo Dawn Records Nova is a powerful and highly versatile parametric EQ plugin with impressive functionality.

The Tokyo Dawn Labs TDR Nova is also featured in the following My New Microphone articles:
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW

The Tokyo Dawn Labs TDR Nova is a seriously versatile parametric EQ plugin that combines parallel parametric EQ capabilities with a full-featured dynamic processing section.

Needless to say, this superb plugin has plenty of applications. It may not be the most intuitive plugin, but once you understand what's under the hood and how to use it, it becomes a forceful plugin for many tasks.

The drag-and-drop display makes things easy with the Nova GE. Combine this functionality with the classic virtual knobs, and users can quickly dial in parameters in several ways.

This plugin features 4 dynamic EQ bands along with high and low-pass filters. These filters can be utilized for general parametric EQ, dynamic EQ, frequency-selective compression (i.e. de-essing), multiband compression, wideband compression and more.

Use the Mix knob to attain parallel EQ and take full advantage of the preset manager, undo/redo, A/B comparison, detailed documentation, copy & paste, and other top-notch functions.

For more information on system requirements and authorization instructions, check out the Tokyo Dawn Records Nova GE user manual.

DMG Audio EQuilibrium

The DMG Audio EQuilibrium is a custom-designed parametric EQ tool for audio professionals, drawing upon 50 years of EQ heritage.

The DMG Audio EQuilibrium is also featured in My New Microphone's Top 11 Best Digital Equalizer/EQ Plugins For Your DAW.

DMG Audio's EQuilibrium is an excellent user-adaptable parametric EQ with an impressive feature set, capable of handling all critical equalization applications. It demands very little CPU and can be selected to work in FIR mode, Linear, Analogue, Minimum, Zero-Latency Analogue or even Free Phase control.

This plugin has 32 fully parametric bands of EQ with adjustable Q and a ±36 dB gain range. Choose between peak, high-pass, low-pass, shelf, bells or notch filters in digital or analog styles. Use it in stereo, mid-side or even surround sound.

Configure the user interface to benefit your specific workflow. Choose the analyzer style or spectrograph in the display and set up a piano roll for instrument equalization, among many other features.

To cover all the features of this spectacular EQ plugin, I would need an entirely separate article. For more information on this top pick, check out the user manual in the link in the following paragraph.

For more information on system requirements and authorization instructions, check out the DMG Audio EQuilibrium user manual.

Waves Q10

The Waves Q10 is a multiband paragraphic EQ with 10 bands of customizable high-precision equalization.

Waves' Q10 is a superb equalizer for mixing and mastering. It's incredibly precise, easy to use and optimal for subtle colouring and surgical repairing alike.

Users can choose between the classic Legacy or the new Modern user interface to best suit their workflow. Processing control can be selected between 32-bit and double-precision 64-bit processing. Each GUI offers easy access to the well-defined controls of this awesome parametric EQ.

Each of the 10 bands offers 6 different filter types and complete control over the gain, frequency, and Q. The Waves Q10 is configurable either as two independent mono equalizers or as a high-precision stereo equalizer.

For more information on system requirements and authorization instructions, check out the Waves Q10 user manual.

Former Top Digital Parametric EQ Plugin Picks

Here are plugins that used to be on this list and the reasons they are no longer.

iZotope Neutron 3 (Discontinued/Upgraded)

The iZotope Neutron 3 (discontinued/upgraded to version 4) was a fully-featured 6-module mixing tool with intelligent Mix Assistant and Track Assistant technology that suggests an overall mix automatically. This super powerful mixing plugin featured all the mixing essentials and includes, of course, a superb parametric EQ. It was featured in this article from 2021 (original publishing year) to 2023.

Compatibility

The iZotope Neutron 3 is compatible with Mac OS and Windows OS and comes in AAX, AU and VST formats. In addition to the Mix Assistant and Visual Mixer, it features 6 other modules: Sculptor, Transient Shaper, Exciter, Gate, Compressor and, of course, Equalizer.

This genuinely impressive mixing suite has an equally impressive equalizer module. Though we'll focus on the Equalizer module in this article, feel free to check out the Neutron Documentation for more information on the plugin.

This powerful parametric EQ module features 4 different displays: Spectrum analyzer, composite EQ curve, Filter response curve and meter scales. Though we should be relying mostly on our ears when EQing a signal, these visual aids can certainly help us out.

Up to 12 fully parametric bands can be easily added and removed from the EQ, including a high-pass/high-shelf and low-pass/low-shelf filter. Each band features a discrete utility menu with static and dynamic mode controls (except the pass filters), as well as access to Neutron's powerful sidechaining capabilities.

In dynamic mode, each parametric band has its own threshold, direction (upward or downward) and sidechain parameters in addition to the Q, frequency and gain controls. Use the internal/program signal as the sidechain or any external signal to trigger the dynamic EQ bands. The resulting EQ boost or cut will engage as the threshold is passed (can be set above or below).

iZotope Ozone 9 EQ (Discontinued/Upgraded)

The iZotope Ozone 9 Equalizer Module (discontinued/upgraded to version 11) was part of iZotope's famed Ozone mastering suite. Its Equalizer module was among the best of the best parametric EQ plugins. It was featured in this article from 2021 (original publishing year) to 2022.

Compatibility

The iZotope Ozone 9 is compatible with Mac OS and Windows OS and comes in AAX, AU and VST formats.

iZotope's Ozone 9 actually contains three different EQ modules: the Equalizer, Dynamic EQ and Vintage EQ.

The Ozone 9 Equalizer Module is a versatile parametric EQ combining asymmetrical analog-matched filters with high-precision digital linear phase filters. Whether we're the gentle warmth of analog-style EQ or the surgical exactness of digital-style EQ, the Ozone 9 Equalizer will deliver superior results without fail.

Ozone 9's Dynamic EQ features 8 parametric bands of adjustable filters and a variety of filter shapes. Use the Equalizer for the initial shaping of your master, then take advantage of Post-EQ later in the signal chain.

Note that the Vintage EQ is based on the famous Pultec equalizers, which are not fully parametric.

Within the Ozone 9 mastering suite, we can use the Equalizers for the initial shaping of the master bus and follow it up with the Post-EQ later in the signal chain. Of course, the Equalizer Module can also be used on its own to EQ individual tracks or mix buses with superb results.

Use the Ozone 9 in stereo (left/right) or mid-side processing modes to ensure the stereo field is being EQed to your exact liking.

Depending on the desired results, the Ozone 9 Dynamic EQ and Equalizer bands can also be selected as analog minimum-phase IIR filters or digital linear-phase FIT filters. The analog filters mesh together nicely when applied gently and do not create any pre-ringing, though they do cause frequency-dependent phase shifting. The digital filters cost more CPU but are much more clinical and precise and do not cause phase shift (though they are prone to pre-ringing).

Sonible smart:EQ 2 (Discontinued/Upgraded)

The Sonible smart:EQ 2 (discontinued/upgraded to version 4), as the name suggests, was an intelligent parametric EQ plugin. It was featured in this article in 2021 (original publishing year).

Compatibility

The Sonible smart:EQ 2 is compatible with Mac OS and Windows OS and comes in AAX, AU and VST formats.

This intelligent parametric EQ plugin utilizes Sonible's proprietary smart:engine learning engine and artificial intelligence to correct tonal imbalances in audio signals with incredible precision and dependability.

The Sonible smart:EQ 2 effectively analyzes the audio and generates a custom EQ curve to produce a natural-sounding balance.

Though the sonic possibilities are virtually endless, the smart:EQ 2 is incredibly focused on achieving the best results with the fastest workflow. A few parameter adjustments will allow the smart:EQ 2 to augment the detail and clarity of a mix with ease.

Not only is the A.I. expedient in analyzing and producing results, but the intuitive user interface is also a blessing for improving workflow speed. With easily accessible controls and a high-definition analyzer (with pre, post and pre/post settings), we can efficiently get the results we're after in a fraction of the time it would take with classic EQ units.

The smart:EQ 2 offers plenty of filter options and even includes mid-side processing.

The smart:EQ 2 comes with several profiles (presets) for content-aware audio processing and allows users to save their own. These profiles will provide a superb starting point for EQ and adapt to the audio signal in question to generate professional results with a simple click of a button.

Choosing the best audio plugins for your DAW can be a challenging task. For this reason, I've created My New Microphone's Comprehensive Audio Plugins Buyer's Guide. Check it out for help in determining your next audio plugin purchases.

Other Top Audio Plugin Articles

Here are additional My New Microphone articles regarding the best audio plugins by type:
• Top 11 Best Distortion Plugins For Your DAW
• Top 11 Best Saturation Plugins For Your DAW
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW
• Top 8 Best Graphic EQ Plugins For Your DAW
• Top 10 Best Linear Phase EQ Plugins For Your DAW
• Top 10 Best Parametric EQ Emulation Plugins For DAWs
• Top 8 Best Passive EQ Emulation Plugins For Your DAW
• Top 11 Best Digital Compressor Plugins For Your DAW
• Top 11 Best FET Compressor Emulation Plugins For Your DAW
• Top 10 Best Optical Compressor Emulation Plugins
• Top 10 Best Multiband Compressor Plugins For Your DAW
• Top 11 Best Variable-Mu Compressor Emulation Plugins
• Top 11 Best VCA Compressor Emulation Plugins For Your DAW
• Top 10 Best Limiter Plugins For Your DAW
• Top 11 Best Channel Strip Plugins For Your DAW
• Top 11 Best Chorus Modulation Plugins For Your DAW
• Top 9 Best Flanger Modulation Plugins For Your DAW
• Top 9 Best Phaser Modulation Plugins For Your DAW
• Top 11 Best Tremolo Modulation Plugins For Your DAW
• Top 10 Best Analog Delay Emulation Plugins For Your DAW
• Top 10 Best Digital Delay Plugins For Your DAW
• Top 10 Best Tape Delay Emulation Plugins For Your DAW
• Top 12 Best Reverb Plugins (Spring, Plate, Algorithmic, Convolution)
• Top 9 Best Stereo Imaging Plugins For Your DAW
• Top 11 Best Guitar Amp Simulator Plugins For Your DAW
• Top 7 Best Noise Reduction Plugins For Your DAW

The post Top 7 Best Digital Parametric EQ Plugins For Your DAW first appeared on My New Microphone and is written by Arthur Fox.

We're currently living in the age of digital audio, and in-the-box mixing within a digital audio workstation is commonplace. Plugins are, therefore, invaluable assets for the modern audio engineer.

There are plenty of plugins that aim to emulate analog hardware in an attempt to make digital audio sound more like its [arguably] nicer-sounding analog counterpart.

There are plenty of excellent analog optical compressors and plugin emulations of such compressors. With so many options to choose from, I've compiled what I consider to be the 9 best optical compressor emulation plugins.

What is an optical compressor? An optical compressor is an analog compressor that uses a light element and optical cell to alter the dynamics of an audio signal. As the amplitude of the audio signal increases, the light element emits more light and causes the optical cell to attenuate the amplitude of the output signal.

For more information on optical compressors, check out my article What Is An Optical Compressor & How Does It Work?

The Top 9 Best Optical Compressor Emulation Plugins Are:

1. Softube Tube-Tech CL 1B Mk II
2. Cakewalk CA-2A
3. Native Instruments VC 2A
4. IK Multimedia T-RackS Opto-Compressor
5. Waves CLA-2A
6. Brainworx bx_opto
7. Audiority LDC2 Compander
8. Brainworx Shadow Hills Mastering Compressor
9. Universal Audio Teletronix LA-2A Collection

It should go without saying that any “top X” article is subject to bias. I would expect the next person's top 9 to be different from mine, but I hope there would be plenty of overlap.

That being said, I believe these plugins to be the best optical compressor emulation plugin options today. The criteria I used to judge these plugins include the following:

• Sonic performance: how does the optical compressor emulation plugin sound subjectively/objectively?
• Graphic user interface (GUI): how does the optical compressor emulation plugin look when loaded in the DAW?
• Ease-of-use: how user-friendly is the optical compressor emulation plugin?
• Functionality: how many different functions does it serve and/or how many parameters are available for the optical compressor emulation effect?
• Accessibility/compatibility: how easy is it to acquire the optical compressor emulation plugin, and what are the system requirements?

To learn why they made this list, let's discuss each of the top 9 best optical compressor emulation plugins in greater detail.

Click here to return to the Recommended Gear Page.

Softube Tube-Tech CL 1B Mk II

As the name would suggest, the Softube Tube-Tech CL 1B Mk II is an emulation of the world-famous Tube-Tech CL 1B optical compressor.

Since 2006, Softube and Tube-Tech's partnership has brought forth many superb plugins. This CL 1B Mk II brings the warm, punchy analog sound of the original and is truly a modern classic.

This optical compressor plugin is a complete ground-up model of the CL 1B Mk II compressor. From the sound of the software to the graphic user interface, this plugin is spot on. In addition to the original controls, Softube has included extra features to make this compressor's legendary character even more versatile.

The standard features are plentiful in this opto compressor emulation. Dial in the Output Volume, Ratio, and Threshold with virtual continuously variable knobs. Set the attack/release controls to one of three settings and fine-tune the time constants with their own virtual knobs.

Select what the VU meter will display (input, compression or output) with a 3-way knob and choose whether the sidechain signal is internal or external.

The parallel blend and sidechain low cut are now standard features on many compressor plugins. Softube offers both features for easy parallel compression and improved compression detection, respectively.

This plugin is also capable of mid-side processing (along with stereo processing), making it even more versatile in DAW applications.

For more information on system requirements and authorization instructions, check out the CB 1B Mk II at Softube.

Cakewalk CA-2A

The Cakewalk CA-2A is a T-Type Leveling Amplifier plugin modelled after the legendary Teletronix LA-2A.

Cakewalk has meticulously modelled the Teletronix LA-2A to program an opto compression plugin that offers the same silky smooth sound as the legendary hardware unit. From the opto-electric gain reduction circuit to the 4 vacuum tubes, this plugin is spot on.

The limited controls of the plugin make it super easy to use, and, like the original, it sounds great on pretty much everything. From tracking to mixing, this zero-latency plugin performs incredibly well.

Choose a softer or harder knee for this largely program-dependent compression via the Compress/Limit switch. Adjust the high-end with the expertly-modelled “R37” HF Pre-emphasis control.

Dial in the Gain and Peak Reduction knobs for the perfect amount of compression and meter one of four options in the virtual VU display: GR (gain reduction), dBFS (decibels full-scale), +4 or +10 dB.

To learn more about decibels (dB), check out my article What Are Decibels? The Ultimate dB Guide For Audio & Sound.

This superb compressor plugin offers up to 40 dB of transparent frequency-dependent compression with relatively slow program-dependent time constants (attack and release times).

Choose between Classic & Fast Reset modes to control the release time to some extent.

The modern functionality of external sidechain control has been included in this amazing optical compressor plugin.

For more information on system requirements and authorization instructions, check out the CA-2A at Cakewalk.

Native Instruments VC 2A

The Native Instruments VC 2A is one of many emulations of the classic LA-2A Leveling Amplifier/optical compressor hardware to make this list.

Native Instruments' VC 2A is an easy-to-use and sonically accurate emulation of the legendary Teletronics LA-2A. It's part of the Vintage Compressors collection that has come about from the successful Native Instruments and Softube collaboration.

Along with the classic program-dependent attack and release controls, this slow-response compressor has an external sidechain input with a variable low-cut (high-pass) filter in the detector path.

Described as smooth and silky, the electro-optical tube compression and limiting of the NI VC 2A is as musical and “vintage-sounding” as the original hardware it aims to emulate.

For more information on system requirements and authorization instructions, check out the VC 2A at Native Instruments.

IK Multimedia T-RackS Opto Compressor

The IK Multimedia T-RackS Opto-Compressor is an optical compressor emulation plugin that affords all the characteristics of an opto compressor without specifically mimicking a specific hardware unit.

We've already spent some time describing the character of optical compression with terms such as “smooth”, “silky”, “transparent”, “slow,” and “vintage”. The T-RackS Opto-Compressor captures all these adjectives in a fantastic stereo opto compressor plugin.

IK's proprietary DSM and SCC modelling have been used to recreate the distinct analog sound of optical compression. However, as we've discussed, this plugin isn't a direct clone of any particular hardware.

This plugin offers 6 simple controls: Input, Ratio, Attack, Release, Compression and Output. Dialling in the perfect amount of opto compression is made easy.

There is no distortion or coloration during gain reduction, and the compression is of a gentle, transparent, and organic sonic nature.

In typical T-RackS fashion, The Opto-Compressor is designed for operational mode with both L/R and M/S channels. Choose linked or independent channel sidechaining with the Link switch.

For more information on system requirements and authorization instructions, check out the T-RackS Opto Compressor at IK Multimedia.

Waves CLA-2A

The Waves CLA-2A is a third emulation of the famous LA-2A Leveling Amplifier.

This plugin version of the LA-2A features all off with Chris Lord-Alge's personal presets, offering a variety of ready-to-go smooth frequency-dependent optical compression options.

Like the original, the CLA-2A has both compressor and limiter modes, a high-frequency sidechain filter, and Gain and Gain Reduction knobs. This super-simple zero-latency plugin presents users with the same beloved character of the original 1960s Teletronix unit.

Users can choose to engage Analog modes in either 50 Hz or 60 Hz for realistic mains hum in the output signal. The VU meter can be set to meter the input, gain reduction or output amounts.

With low total harmonic distortion, variable release times and a distinct program-dependent compression style, the Waves CLA-2A is a top choice for those needing an audio plugin version of the classic LA-2A.

For more information on system requirements and authorization instructions, check out the Waves CLA-2A user manual.

Brainworx bx_opto

The Brainworx bx_opto is a superb opto compressor emulation plugin that offers the best characteristics of optical compression without aiming to recreate the sound of any particular unit.

Brainworx is one of the best when it comes to modelling hardware and creating world-class plugin emulations. The bx_opto compressor is one such example of the superior modelling and meticulous attention to detail Brainworx is known for.

Taking the best aspects and anomalies from top-performing optical compressor circuits, Brainworx has developed a sonically masterful software plugin.

This musical compressor features the typical peak reduction and output controls.

The Speed knob adjusts the compression envelope, altering the attack and release times of the virtual gain reduction circuit. A Mix knob makes for super-simple parallel compression without the need for any mix buses.

The sidechain signal can be manipulated even further with fully sweepable sidechain filters (choose between high-pass, low-pass, band-pass and bell).

For more information on system requirements and authorization instructions, check out the bx_opto at Plugin Alliance.

Audiority LDC2 Compander

The Audiority LDC2 Compander is a unique opto compressor emulation plugin.

Audiority's LDC2 Compander offers warm, analog-sounding optical compression and expansion with a variety of modelled optical circuits, solid-state diode-based preamplifiers and output stages.

Mix and match the following for optimal optical compression:

• 17 real-time optical circuit models
• Fixed ratio (4:1) Optical Compressor (max. GR of 40 dB)
• Fixed ratio (3:1) Optical Expander (max. GR of 30 dB)

Dial in the compression even further with independent sidechain gain and high-pass filters and utilize the Mix control for easy parallel processing. With zero-latency performance, this plugin is a superb choice for tracking, mixing, mastering and live performances.

For more information on system requirements and authorization instructions, check out the Audiority LDC2 Compander user manual.

Brainworx Shadow Hills Mastering Compressor

The Brainworx Shadow Hills Mastering Compressor is a plugin emulation of the superb Shadow Hills Mastering Compressor hardware.

The Brainworx Shadow Hills Mastering Compressor is also featured in My New Microphone's Top 11 Best VCA Compressor Emulation Plugins For Your DAW.

The Shadow Hills Mastering Compressor is an impressively powerful optical compressor and is revered as the “godfather of dynamics control.”

Brainworx has meticulously modelled the legendary hardware circuitry of the Mastering Compressor and has produced one of the greatest compressor plugins on the market in doing so.

The plugin has been approved and endorsed by the founder of Shadow Hills Industries, Peter Reardon.

Of course, adding this plugin to this list is a bit of a stretch. Since it has both an optical gain reduction circuit and a VCA reduction circuit, it's not a “true” optical compressor emulation plugin.

That being said, putting it last on the list, we could consider it as a bonus plugin after the “top 10” we've already discussed.

Sending the signal through both compression stages is a large part of the Brainworx Shadow Hills Mastering Compressor charm. Adjusting both these stages offers superior control over signal dynamics. With a bit of fine-tuning, this compressor will sound amazing on any source material.

Select between three different modelled output transformers to add extra character to the signal. Nickel adds high-end sparkle, Iron adds mid-range character, and Steel adds additional harmonic distortion.

The Brainworx Shadow Hills Mastering Compressor works in either stereo or dual-mono modes. Each compression stage features all necessary compression parameters.

In addition to all that functionality, Brainworx went ahead to include Parallel Mix control, a Sidechain Filter and an External Sidechain option in the proprietary toolbar. These controls further enhance an already incredible compressor plugin!

I'd need a whole other article to get through all the features of this incredibly powerful plugin. Please consider checking out the Brainworx Shadow Hills Mastering Compressor user manual for all the information you'll need.

Check out the Shadow Hills Mastering Compressor specifications at Plugin Alliance for more information on system requirements and authorization instructions.

Universal Audio Teletronix LA-2A Collection

The Universal Audio LA-2A Grey | LA-2A Silver | Original LA-2 are plugin emulations, recreating the variations in character across multiple versions of the legendary Teletronix/Universal Audio LA-2A.

This superb bundle of UAD plugins is the definitive plugin collection of the most famous LA-2A compressor versions.

The history of Universal Audio and Teletronix goes all the way back to the 1960s, as both companies were acquired by Studio Electronics Corporation (which would eventually be rebranded as UREI). Bill Putnam, the founder of Universal Audio, is even credited with manufacturing the Silver version of the hardware.

Universal Audio's first release of a plugin version of the LA-2A came in 2001, which helped set the stage for the company to become one of the biggest names in audio plugins today.

Since then, UAD's modelling has become much more precise, and today, the company offers the most authentic emulations of three distinguished versions of this iconic compressor.

This bundle offers 3 distinct versions of the legendary Teletronix optical compressor:

• LA-2A Grey: manufactured by Jim Lawrence, this version has average time constants, providing excellent medium-speed compression.
• LA-2A Silver: manufactured by Bill Putnam (founder of Universal Audio), this flexible plugin has relatively fast time constants (for an opto-comp). It is suitable for a wide variety of program materials.
• Original LA-2: from the early 1960s, this rare model offers the slowest response and a uniquely mellow style of compression.

Select the best option for your applications and enjoy some of the greatest vintage compression ever in the flexibility of your digital audio workstation.

For more information on system requirements and authorization instructions, check out the UAD Plug-Ins Manual.

Former Top Optical Compressor Plugin Picks

Here are plugins that used to be on this list and the reasons they are no longer. Currently, there is only one plugin on this list.

Variety Of Sound ThrillseekerLA (Discontinued/Upgraded)

The Variety Of Sound ThrillseekerLA (discontinued/upgraded to version 2) is a freebie and a rather loose emulation of the LA-2A optical compressor. It was featured in this article from 2021 (original year of publishing) to 2022.

Compatibility

The Variety Of Sound ThrillseekerLA is compatible with Windows OS and comes in the VST format.

This free stereo levelling amplifier plugin offers non-linear analog sonic qualities similar to the renowned LA-2A.

For a variety of smooth feedback compression styles, adjust the Input, Attack, Release, Range (similar to threshold) and Output knobs.

Engage the SC Low-Cut switch to remove low-end information from the sidechain for a more concise triggering of gain reduction. An additional 6dB/octave SC low-cut filter adjustable from 20 to 500Hz with a virtual knob.

This modernized plugin features external sidechain support along with a variety of colour-inducing options.

Adjust saturation in a designated spectrum by engaging an optional modelled transformer and control the amount of total harmonic distortion with a horizontal slider. The Interstage switch offers even more subtle distortion to the output.

Choosing the best audio plugins for your DAW can be a challenging task. For this reason, I've created My New Microphone's Comprehensive Audio Plugins Buyer's Guide. Check it out for help in determining your next audio plugin purchases.

Other Top Audio Plugin Articles

Here are additional My New Microphone articles regarding the best audio plugins by type:
• Top 11 Best Distortion Plugins For Your DAW
• Top 11 Best Saturation Plugins For Your DAW
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Digital Parametric EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW
• Top 8 Best Graphic EQ Plugins For Your DAW
• Top 10 Best Linear Phase EQ Plugins For Your DAW
• Top 10 Best Parametric EQ Emulation Plugins For DAWs
• Top 8 Best Passive EQ Emulation Plugins For Your DAW
• Top 11 Best Digital Compressor Plugins For Your DAW
• Top 11 Best FET Compressor Emulation Plugins For Your DAW
• Top 10 Best Multiband Compressor Plugins For Your DAW
• Top 11 Best Variable-Mu Compressor Emulation Plugins
• Top 11 Best VCA Compressor Emulation Plugins For Your DAW
• Top 10 Best Limiter Plugins For Your DAW
• Top 11 Best Channel Strip Plugins For Your DAW
• Top 11 Best Chorus Modulation Plugins For Your DAW
• Top 9 Best Flanger Modulation Plugins For Your DAW
• Top 9 Best Phaser Modulation Plugins For Your DAW
• Top 11 Best Tremolo Modulation Plugins For Your DAW
• Top 10 Best Analog Delay Emulation Plugins For Your DAW
• Top 10 Best Digital Delay Plugins For Your DAW
• Top 10 Best Tape Delay Emulation Plugins For Your DAW
• Top 12 Best Reverb Plugins (Spring, Plate, Algorithmic, Convolution)
• Top 9 Best Stereo Imaging Plugins For Your DAW
• Top 11 Best Guitar Amp Simulator Plugins For Your DAW
• Top 7 Best Noise Reduction Plugins For Your DAW

The post Top 9 Best Optical Compressor Emulation Plugins first appeared on My New Microphone and is written by Arthur Fox.

We're currently living in the age of digital audio, and in-the-box mixing within a digital audio workstation is commonplace. Plugins are, therefore, invaluable assets for the modern audio engineer.

Stereo imaging is also considered an important tool in the audio engineer's toolbox (when mixing in stereo, which is common).

Then, it would make sense that a stereo imaging plugin would be a worthy investment for mixing engineers. With plenty of options on the market, I've collected what I believe to be the best 9 stereo imaging plugins on the market today.

Note that we won't be discussing doublers or delay plugins in this article, though they are certainly great choices for adding additional width to a mono or stereo signal.

The Top 9 Best Stereo Imaging Plugins Are:

1. MeldaProduction MStereoProcessor
2. CredlandAudio Stereo Savage
3. iZotope Ozone Imager 2
4. Waves S1 Stereo Imager
5. Polyverse Music Wider 2.0
6. Alex Hilton A1StereoControl
7. Brainworx bx_stereomaker
8. Nugen Audio Stereoizer
9. Waves PS22 X-split

It should go without saying that any “top X” article is subject to bias. I would expect the next person's top 9 to be different from mine, but I hope there would be plenty of overlap.

That being said, I believe these plugins to be the best stereo imaging plugin options today. The criteria I used to judge these plugins include the following:

• Sonic performance: how does the stereo imaging plugin sound subjectively/objectively?
• Graphic user interface (GUI): how does the stereo imaging plugin look when loaded in the DAW?
• Ease-of-use: how user-friendly is the stereo imaging plugin?
• Functionality: how many different functions does it serve and/or how many parameters are available for the stereo imaging effect?
• Accessibility/compatibility: how easy is it to acquire the stereo imaging plugin, and what are the system requirements?

To learn why they made this list, let's discuss each of the top 9 best stereo imaging plugins in greater detail.

Related article: Is Stereo Or Mono Audio Better? (Applications For Both).

Click here to return to the Recommended Gear Page.

MeldaProduction MStereoProcessor

The MeldaProduction MStereoProcessor is an advanced mastering multiband stereo analyzer and enhancer plugin.

The MStereoProcessor is highly functional yet straightforward, allowing users to easily control the stereo image and the necessary depth and space perception. It offers 4 separate bands and 3 crossover types, with each band providing its own width control and an aural exciter for additional clarity.

Integrated analyzers (Default, Mid and Side) present accurate visual information regarding the output stereo profile, thereby improving decision-making with an objective representation of the stereo image. Easy-to-read meters show the input, output and width of the output.

Automatic gain compensation makes this plugin a joy to work with, especially on master channels. The plugin quickly adapts to current settings and ensures the output sounds as loud as the input, even as users toggle through various presets.

The A/B comparison featured is also remarkably advanced with the MStereoProcessor. It features 8 instances (A through H) that can be quickly and easily switched between. The first 4 slots (A through D) can even be morphed via an X-Y pad, allowing for a unique interpolated blend of various stereo width settings.

Additionally, you can easily check by listening that your recording is mono-compatible and what the stereo content actually is.

The MStereoProcessor also looks as excellent as it sounds with its advanced GUI engine. The beautiful GUI Accelerated interface utilizes GPU to run fast. It can be resized and styled to the liking of the user for optimal workflow.

Other noteworthy features of the powerful MeldaProduction MStereoProcessor include:

• Up to 16x upsampling
• Integrated help system
• Safety limiter
• MIDI learn
• Multiparameters
• Global preset management and online preset exchange

For more information on system requirements and authorization instructions, check out the MStereoProcessor support page at MeldaProduction.

CredlandAudio Stereo Savage

The CredlandAudio Stereo Savage is a versatile plugin capable of turning mono sources into stereo signals, complex panning and controlling other stereo image parameters.

CredlandAudio's Stereo Savage is a powerful yet easily navigated plugin. As mentioned, it does a superb job of turning mono sources into stereo signals. It's also a rather advanced panning plugin, offering additional adjustments unavailable in typical channel strips.

In terms of stereo widening, the Stereo Savage offers a simple Width knob in addition to its Pan, Rotation and Level controls. Dial in the perfect amount of stereo width in seconds and utilize the bass bypass feature to maintain superb mono compatibility.

To make the plugin even better, CredlandAudio includes modulation and optional Vox, Delay and Expand effects modelled after modern and classic tools. Use these subtle tools to allow the stereo field of your track(s) to shine truly.

For more information on system requirements and authorization instructions, check out the StereoSavage user manual.

iZotope Ozone Imager 2

The iZotope Ozone Imager 2 is a stereo imager included as a module in iZotope's industry-leading Ozone mastering suite.

iZotope's Imager 2 is a relatively simple plugin. The basic version works on the entire signal at once, while the Ozone Standard and Advanced versions work with up to 4 independent frequency bands.

The integrated Vectorscope and Correlation meters offer invaluable visual feedback for the mastering process, including Polar vectorscope modes and a Stereo Balance meter. With immersive, fluid visuals and full resizability, this stereo imager looks as amazing as it sounds.

Whether we're after a super-wide stereo field or a narrow, nearly mono output, the Imager 2 delivers with stunning clarity. Mono compatibility can be easily achieved in multiband versions by tightening up the low end and expanding the high end.

The two Stereoize functions can turn mono into stereo without the need for reverb or doubling. Use the new Stereoize II mode for a subtle enhancement or Stereoize I for a colourful phasing effect.

As a standalone insert or as part of the Ozone mastering suite, the Imager 2 is undoubtedly one of the best stereo imager plugins on the market today.

For more information on system requirements and authorization instructions, check out the Imager V2 system requirements webpage at iZotope.

Waves S1 Stereo Imager

The Waves S1 Stereo Imager is a unique and powerful set of tools that uses psycho-acoustic spatial imaging techniques to enhance and alter stereo separation.

This powerful Waves plugin is a superb choice for individual stereo tracks and full mixes alike. Featuring Shuffler, Imager and MS Matrix components, the S1 is a powerful tool for achieving all your stereo width goals. This 3-in-1 plugin actually has 4 distinct components. They are:

• S1 Shuffler: the full plug-in, with all controls, including Width, Rotation, Asymmetry, and Shuffling, plus all channel controls (phase, gain, etc.), and does not count clips. It's perfect for:
  • Mastering
  • Fixing off-centre or unbalanced mixes
  • Precision image adjustment
  • Changing wide-band width
  • Expanding low-frequency image
  • Rotating true stereo sources without collapsing the image
  • Creating strong anti-phase content
• S1 Shuffler (48): the full mastering plug-in (TDM only) in 48-bit double-precision resolution
• S1 Imager: omits the Shuffler and Bass trim controls (saves processing power if Shuffling is not needed)
• S1 MS: a simple MS converter/matrix that converts left-right input into MS output or vice versa

If you require a fully functional stereo width plugin, I highly suggest giving the Waves S1 a shot, especially when it goes on sale!

For more information on system requirements and authorization instructions, check out the S1 Imager user manual.

Polyverse Music Wider 2.0

The Polyverse Music Wider 2.0 takes the popular stereo width section from the company's Manipulator Pitch Shifter plugin and offers it in its own plugin.

Polyverse Music's Wider is designed to create the illusion of an expanded stereo image of a mono signal while maintaining full mono compatibility. Any signal widened by the Wider will always remain in phase with itself when summed to mono.

To do so, Polyverse has programmed a one-of-a-kind all-pass and comb filtering algorithm. This specialized algorithm produces a natural-sounding stereo image from a mono channel without compromising the phase between the sides.

This super simple plugin has a single control and can increase the stereo image of any mono signal up to 200% of full stereo for an extra-wide, exaggerated effect. With a stamp of approval from the experimental electronic music duo Infected Mushroom, you can count on this user-friendly freebie to get superb and interesting results.

For more information on system requirements and authorization instructions, check out Wider 2.0 at Polyverse Music.

Alex Hilton A1StereoControl

The Alex Hilton A1StereoControl is a versatile yet easy-to-use stereo imager plugin, and it's absolutely free!

The entire stereo widening (or limiting) control of the A1StereoControl is available using a single knob. All other controls aim to enhance the stereo expansion/compression while mitigating any all-to-familiar unwanted side effects.

The A1StereoControl has an integrated “Safe Bass” algorithm to centre all bass frequencies below an adjustable value to the middle of the stereo field with minimal effort.

Its expert mode opens up the doors for more creative stereo widening, allowing users access to different “pan laws” (0db, -3db, -6db), different pan curves (linear, logarithmic, sin/cos), as well as classic “balance” mode or “dual panning”.

For more information on system requirements and authorization instructions, check out the downloads webpage at A1Audio.

Brainworx bx_stereomaker

The Brainworx bx_stereomaker is a superb frequency-optimized mid-side upmixer capable of converting any mono signal to stereo while keeping it 100% mono-compatible.

By creating a virtual side (S) signal with analog-style filters, Brainworx's superior M/S stereo algorithms can effectively produce the illusion of enhanced width on any mono signal. By using filters, the focus of the pseudo-stereo widening effect can even be focused on particular frequency bands.

Adjust the stereo-width added to the mono source signal from 0% to 300% while maintaining mono compatibility; use the Hi-Damp shelving filter to keep the image warm and, if you're feeling extra experimental, solo the virtual side signal of the track within the mix.

For more information on system requirements and authorization instructions, check out the bx_stereomaker user manual.

Nugen Audio Stereoizer

The Nugen Audio Stereoizer is a mono-compatible stereo width plugin that works equally as well with mono signals as it does stereo signals.

Nugen Audio's Stereoizer has been designed to sound amazing in stereo (of course) and mono. It can be used to add natural sounding width and depth to both mono or stereo signals, leaving the character of the source intact. It can also be pushed to the extremes for super-wide imaging.

This plugin keeps total mono compatibility and does not cause any artifacts. The advanced algorithms of the Stereoizer adapt to the audio using techniques based on natural human hearing. IID (Interaural Intensity Difference), ITD (Interaural Time Difference) and Linear Width algorithms all work independently of each other to ensure maximal flexibility and superior sonic performance across the panorama.

Check mono compatibility easily with the ‘Collapse output to mono' option to ensure the plugin is doing its job.

In addition to improving the stereo width of individual tracks and mixing at large, the Nugen Audio Stereoizer also excels at taming eccentric material and revamping old recordings, all while helping to strengthen the centre image while enhancing stereo information.

For more information on system requirements and authorization instructions, check out the Stereoizer user manual.

Waves PS22 X-split

The Waves PS22 X-split is a top-level mono-to-stereo plugin.

Waves' PS22 X-split offers a superb set of controls for creating convincing stereo results from a mono source. True stereo signals can also be used to synthesize a richer stereo effect from existing true stereo (mono left + mono right) material.

This “pseudo-stereo” effect is a perfect choice for psycho-acoustic spatial enhancement and phase compensation. It retains mono compatibility and the original frequency response on the mono signal.

With left/right or MS meter monitoring, the X-split offers a variety of parameters to dial in the perfect stereo effect. Panning and rotating of the signal are made easy. A second stage offers parameters to control the stereo spread across the frequency spectrum and how certain bands will be affected by such stereo spread.

With tonal neutrality and ultra-low phase cancellation, the PS22 X-split creates a smooth spreading of sounds across the stereo stage. Users can quickly access professional results via the plugin presets or dive into the immersive technical document that is the user manual to master the concepts of the plugin and produce exact results themselves.

For more information on system requirements and authorization instructions, check out the PS22 Stereo Maker user manual.

Choosing the best audio plugins for your DAW can be a challenging task. For this reason, I've created My New Microphone's Comprehensive Audio Plugins Buyer's Guide. Check it out for help in determining your next audio plugin purchases.

Other Top Audio Plugin Articles

Here are additional My New Microphone articles regarding the best audio plugins by type:
• Top 11 Best Distortion Plugins For Your DAW
• Top 11 Best Saturation Plugins For Your DAW
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Digital Parametric EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW
• Top 8 Best Graphic EQ Plugins For Your DAW
• Top 10 Best Linear Phase EQ Plugins For Your DAW
• Top 10 Best Parametric EQ Emulation Plugins For DAWs
• Top 8 Best Passive EQ Emulation Plugins For Your DAW
• Top 11 Best Digital Compressor Plugins For Your DAW
• Top 11 Best FET Compressor Emulation Plugins For Your DAW
• Top 10 Best Optical Compressor Emulation Plugins
• Top 10 Best Multiband Compressor Plugins For Your DAW
• Top 11 Best Variable-Mu Compressor Emulation Plugins
• Top 11 Best VCA Compressor Emulation Plugins For Your DAW
• Top 10 Best Limiter Plugins For Your DAW
• Top 11 Best Channel Strip Plugins For Your DAW
• Top 11 Best Chorus Modulation Plugins For Your DAW
• Top 9 Best Flanger Modulation Plugins For Your DAW
• Top 9 Best Phaser Modulation Plugins For Your DAW
• Top 11 Best Tremolo Modulation Plugins For Your DAW
• Top 10 Best Analog Delay Emulation Plugins For Your DAW
• Top 10 Best Digital Delay Plugins For Your DAW
• Top 10 Best Tape Delay Emulation Plugins For Your DAW
• Top 12 Best Reverb Plugins (Spring, Plate, Algorithmic, Convolution)
• Top 11 Best Guitar Amp Simulator Plugins For Your DAW
• Top 7 Best Noise Reduction Plugins For Your DAW

The post Top 9 Best Stereo Imaging Plugins For Your DAW first appeared on My New Microphone and is written by Arthur Fox.

We're currently living in the age of digital audio, and in-the-box mixing within a digital audio workstation is commonplace. Plugins are, therefore, invaluable assets for the modern audio engineer.

When used consciously as an effect, distortion is also considered an important tool in the audio engineer's toolbox. With so many distortion plugins on the market, 10 stand out as being top performers.

What is the audio distortion effect? The “distortion” effect in audio is produced by hard-clipping the input signal through transistor-based or tube-based circuits. Distortion is the most common on electric guitars but also suits many other instruments.

In this article, we'll discuss the top 10 best distortion plugins.

The Top 10 Best Distortion Plugins Are:

1. Soundtoys Decapitator
2. Ohm Force Ohmicide
3. FabFilter Saturn 2
4. Dada Life Sausage Fattener
5. Waves OneKnob Driver
6. Native Instruments Driver
7. AudioThing Wave Box
8. kiloHearts Faturator
9. Kuassa Efektor DS3603
10. Universal Audio Distortion Essentials Bundle

It should go without saying that any “top X” article is subject to bias. I would expect the next person's top 10 to be different from mine, but I hope there would be plenty of overlap.

That being said, I believe these plugins to be the best distortion plugin options today. The criteria I used to judge these plugins include the following:

• Sonic performance: how does the distortion plugin sound subjectively/objectively?
• Graphic user interface (GUI): how does the distortion plugin look when loaded in the DAW?
• Ease-of-use: how user-friendly is the distortion plugin?
• Functionality: how many different functions does it serve and/or how many parameters are available for the distortion effect?
• Accessibility/compatibility: how easy is it to acquire the distortion plugin, and what are the system requirements?

To learn why they made this list, let's discuss each of the top 10 best distortion plugins in greater detail.

Related article: Top 11 Best Distortion Pedals For Guitar & Bass

Click here to return to the Recommended Gear Page.

Soundtoys Decapitator

The Soundtoys Decapitator is a popular distortion plugin with 5 different analog distortion models.

The Soundtoys Decapitator is also featured in My New Microphone's Top 11 Best Saturation Plugins For Your DAW.

As the second Soundtoys plugin to grace this list, the Decapitator is a relatively straightforward hardware-modelled distortion plugin, given its superb versatility. From subtle saturation to extreme breakup, this plugin will get you the distortion your tracks need.

Bringing the best analog distortion to the digital realm, the Decapitator adds character in 5 distinct styles. It allows users to process distortion in parallel with the original dry signal via the Mix knob. The 5 styles are as follows:

• A: modelled after the Ampex 350 tape drive preamp
• E: modelled after the Chandler/EMI TG Channel
• N: modelled after the Neve 1057 input channel
• T: modelled after Thermionic Culture Culture Vulture triode setting
• P: modelled after Thermionic Culture Culture Vulture pentode setting

These analog distortion styles have been programmed with a natural-sounding changing response indicative of real analog hardware. The Punish button can be engaged to push any of the styles beyond typical distortion, which kicks in an extra chunk of gain to produce extreme results.

Shape the contour of the distortion with analog-modelled tone control, low cut and high cut filters to really dial in the perfect saturation/distortion for any track in any situation.

For more information on system requirements and authorization instructions, check out the Soundtoys Decapitator user manual.

Ohm Force Ohmicide

The Ohm Force Ohmicide is an awe-inspiring 4-band distortion plugin offering more than 80 professional-level distortion models.

Ohmicide is a popular distortion plugin and for a good reason. With 4 bands, over 80 distortion models and a wide variety of adjustable parameters, the sky's the limit in terms of distortion character.

Each independent distortion band has its own noise gate, dynamics, distortion, feedback, and mixer and can be set anywhere between classic to extremely harsh tones.

Choose an algorithm and dial in the desired effect, or choose from thousands of presets to get you exactly what you need.

In conjunction with Ohm Force's Melohman technology, the Ohmicide features full MIDI compatibility to command preset changes via a hardware controller, with 7 different modes, with the possibility of customizing the morphing speed, making it equally at home in the studio and on the stage.

For more information on system requirements and authorization instructions, check out the Ohm Force FAQ Page.

FabFilter Saturn 2

The FabFilter Saturn 2 is a multiband saturation plugin with 28 different distortion styles.

The FabFilter Saturn 2 is also featured in My New Microphone's Top 11 Best Saturation Plugins For Your DAW.

FabFilter is one of the top boutique plugin manufacturers in the world. Their feature-rich plugins offer amazing sound quality. The Saturn 2 exemplifies the brand's excellence, delivering everything from subtle warmth to the wildest multiband guitar amp distortion.

Inspired by the vintage sound of tubes, tape, transformers and guitar amps, the Saturn 2 provides a whopping 28 different distortion styles. Each of up to 6 bands can have its own distortion style with independent feedback, dynamics, drive, tone and modulation controls.

The superb distortion of the FabFilter Saturn 2 can be easily modulated for impressive results.

Virtually unlimited modulation possibilities of the crossover frequencies, dynamics, band levels and tone controls are made possible with built-in XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources.

With drag-and-drop functionality with a 50-slot modulation matrix, modulation has never been easier!

The plugin also works well on the mastering chain, as it's fully capable of subtle saturation and optional linear phase processing. Add warmth to the master channel without overly affecting important phase relationships and waveform characteristics.

In typical FabFilter fashion, the Saturn 2 comes with interactive MIDI Learn, undo/redo and A/B switches, Smart Parameter Interpolation, “Help” documentation with interactive hints, sample-accurate automation, double-click text entry of parameter values and more.

Here are a few more noteworthy specifications of the superb FabFilter Saturn 2 plugin:

• Adjustable crossover slope (6, 12, 24 or 48 dB/oct)
• Live modulation visualization for targets and sources
• Optional HQ modes:
  • (8x oversampling)
  • Superb (32x oversampling)
• Interactive multiband display
• Supports common Pro Tools hardware control surfaces
• Mid/side processing
• Various interface sizes and Full-Screen mode
• GPU-powered graphics acceleration
• Unique per-component presets
• Interactive MIDI Learn
• Carefully designed and curated Factory Presets, plus the support of V1 presets
• Per-band solo and mute options
• Smart Parameter Interpolation
• Extensive help file with interactive help hints
• Undo/redo
• A/B comparison

For more information on system requirements and authorization instructions, check out the Saturn 2 user manual.

Dada Life Sausage Fattener

The Dada Life Sausage Fattener, developed by Tailored Noise, is a super-simple yet wildly popular distortion/compression plugin.

With only 2 knobs, Dada Life's Sausage Fattener is super easy to use. Insert it on a track (or several) and quickly dial in the Fatness knob for overall compression and Color knob for tone.

From moderate compression to pleasing saturation to dirty distortion, the Sausage Fattener hastily gets you a variety of distortion effects.

For more information on system requirements and authorization instructions, check out the Sausage Fattener user manual.

Waves OneKnob Driver

The Waves OneKnob Driver is even simpler than the Sausage Fattener with only a single knob. Waves Audio has created something truly amazing with this easy-to-use distortion plugin.

Waves OneKnob Driver has been inspired by famed guitar overdrive pedals, especially those that can provide everything from light overdrive to full-on distortion.

Of course, the OneKnob Driver isn't restricted to guitar guitars. It sounds incredible on nearly everything you could think of putting it on.

Related overdrive pedal articles:
• Guitar Pedals: Boost Vs. Overdrive Vs. Distortion Vs. Fuzz
• Top 10 Best Overdrive Pedals For Guitar & Bass

As part of Waves' OneKnob Series, the Driver (as the name would suggest) is controlled by a single knob. The OneKnob Driver has been designed with the best of Waves award-winning audio processes, coupled with the simplest, most intuitive interfaces ever.

Expedient and sonically powerful, the OneKnob Driver is certainly a distortion plugin worth checking out for yourself.

For more information on system requirements and authorization instructions, check out the OneKnob Driver user manual.

Native Instruments Driver

The Native Instruments Driver is a creative distortion plugin with superb modulation capabilities.

Native Instruments' Driver offers a variety of amazing textures, from subtle to devastating. It combines distortion with EQ/filtering and audio modulation to add dynamic motion to flat-sounding audio, bringing productions to life one instance at a time.

The smooth filter section offers a wide range of effects, from super-subtle to exceptionally rich, while two modulation sources allow for creative textural shifts. The distortion section is proficient in everything from light saturation to complete sonic destruction.

Together, the sections of the NI Driver make up one amazing distortion plugin.

For more information on system requirements and authorization instructions, check out the Driver at Native Instruments.

AudioThing Wave Box

The AudioThing Wave Box is a rather involved dynamic dual waveshaper capable of fantastic symmetrical and asymmetrical distortion.

Wave Box features 2 separate waveshapers that can be mixed together while being modulated by 2 LFOs and 1 Envelope Follower.

Unique waveshaping curves are user-defined by combining and adjusting 12 pre-defined shaping functions (tanh, erf, sinh, sin, linear, abs, invert, floor, round, ceil, gauss 1, gauss 2).

From mild tube-flavoured overdrive to extreme digital harshness, the AudioThing Wave Box does it all!

The Wave Box's distortion can be further refined with a built-in pre or post-waveshaping filter section offering low-pass, band-pass, high-pass and notch filters. With oversampling up to 16x, the plugin can be set to provide only the “good” distortion.

For more information on system requirements and authorization instructions, check out the Wave Box user manual.

kiloHearts Faturator

The kiloHearts Faturator is a straightforward distortion plugin with simple controls, making it easy to dial in the perfect amount of distortion on any given source.

As is the case with all great distortion plugins, the Faturator's effect ranges from a subtle and warm gritty character to heavy saturation and digital fuzz. However, unlike many distortion effects, this kiloHearts plugin is able to preserve the dynamics of that audio and work its wonders on it regardless of input gain.

Adjust the Drive, Fuzz and Color bars to achieve the most desirable distortion and take advantage of the Mix control for parallel distortion effects.

In addition to the wide variety of distorted tones, the plugin also offers a stereo width control to widen stereo signals.

For more information on system requirements and authorization instructions, check out the Faturator user manual.

Kuassa Efektor DS3603

The Kuassa Efektor DS3603 is a versatile distortion plugin with 5 different types of distortion available and easy-to-use yet adaptable parameter control.

The DS3603 provides 5 superb distortion algorithms, ensuring a perfect distortion sound for any situation. Users can choose between:

• Lead Distortion: ringing mids for screaming leads
• Heavy Distortion: penetrates from mild to heavy
• Metal Distortion: dark and thick, the solid metal gear
• Classic Distortion: singing leads and rockin’ hard
• Pro Distortion: fat and sharp edge for your tone

Clipping the input signal by increasing the signal to maximum overload allows the Kuassa Efektor DS3603 to achieve its musical distortion while preserving the characteristics of the original sound. Of course, this process can be pushed to the extreme as well, thereby removing any semblance of the original signal.

Choose an algorithm and set the independent Gain, Tone, and Output volume controls to produce the perfect distortion for your track(s). Use A/B comparison, and Dry-Wet controls to ensure you're getting the best sound out of this flexible distortion plugin.

For more information on system requirements and authorization instructions, check out the Efektor DS3603 at Kuassa.

Universal Audio Distortion Essentials Bundle

The Universal Audio Distortion Essentials Bundle is a three-for-one on this list. It includes 3 different stompbox emulation plugins: The Raw distortion, TS overdrive and Bermuda fuzz/distortion effects.

Each of these classic emulations features Universal Audio's Unison technology, giving you the individual touch, tone, and feel of these prized stompboxes.

UAD TS Overdrive

The TS Overdrive is an emulation of the famous Ibanez Tube Screamer TS808 overdrive pedal, offering beautiful dynamic, touch-sensitive distortion and throaty midrange.

Versions of the Ibanez Tube Screamer are featured in My New Microphone's Top 10 Best Overdrive Pedals For Guitar & Bass.

Ibanez is featured in top brand articles at My New Microphone. Check out these articles here!

UAD Bermuda Triangle

The Bermuda Triangle is an emulation of the famous Electro-Harmonix Big Muff fuzz pedal, offering powerfully fat sustain, aggressive attack, and an over-the-top sonic personality.

Versions of the Electro-Harmonix Big Muff are featured in My New Microphone's Top 12 Best Fuzz Pedals For Guitar & Bass.

Electro-Harmonix is featured in top brand articles at My New Microphone. Check out these articles here!

UAD Raw Distortion

The Raw Distortion is an emulation of the famous Pro Co Rat distortion pedal, offering superb dynamic and tonal range, smoothness, and heaping amounts of gain.

The Pro Co Rat is featured in My New Microphone's Top 11 Best Distortion Pedals For Guitar & Bass.

For more information on system requirements and authorization instructions, check out the UAD Plug-Ins Manual.

Former Top Distortion Plugin Picks

Here are plugins that used to be on this list and the reasons they are no longer.

iZotope Trash 2 (Discontinued)

The iZotope Trash 2 is a highly functional multiband distortion/saturation plugin with a whopping 60 different distortion algorithms. It was featured in this article from 2021 (original year of publication) to 2022.

Compatibility

The iZotope Trash 2 is compatible with Mac OS and Windows OS and comes in AAX Native, AAX AudioSuite, AU and VST formats.

iZotope's Trash 2 is arguably the most creative distortion/saturation plugin ever produced. It is versatile enough for any situation and ranges from subtle to extreme distortion, with practically every creative sonic possibility in between.

The plugin's 4-band dual-stage distortion signal path includes over 60 different distortion algorithms (in addition to the user-definable graphic waveshaper option). With advanced filtering and dynamic effects, Trash 2 offers immediate sonic transformation.

Along with the 60+ distortion algorithms, this iZotope plugin also offers over 20 selectable filter types, along with versatile oscillators on each band. This is a super high-functioning distortion plugin.

Other noteworthy features of the iZotope Trash 2 include:

• Realistic speaker and space simulation
• Amp, device, cabinet, effect, and speaker modelling
• 100 impulse responses with the Convolve module
• Delay module
• Dynamics module
• Pre-distortion filter (with 20+ evocative filter types)
• Post-distortion filter (with 20+ evocative filter types)
• 2 LFO-enabled EQ filters
• Output limiter
• Expansion Libraries: Over 100 additional Trash 2 patches

Camel Audio Camel Crusher (Discontinued/Defunct Company)

Camel Audio's Camel Crusher (disconitnued/defunct company), if you can find it, can easily become a go-to distortion plugin for your DAW. It is a simple yet effective distortion plugin. However, since Apple acquired Camel Audio in 2015, the plugin has ceased to exist for official sale or download. Indeed, this plugin was out of production when this article was first published in 2021.

Compatibility

The Camel Audio Camel Crusher is compatible with Mac OS and Windows OS and comes in AAX, AU and VST formats.

The Camel Audio Alchemy synthesizer has been incorporated into Apple's Logic Pro DAW. Similarly, certain aspects of the Camel Crusher have been added to Apple's extensive database of audio programs.

However, there is no clear transfer of the plugin into the Logic Pro DAW, per se.

Choosing the best audio plugins for your DAW can be a challenging task. For this reason, I've created My New Microphone's Comprehensive Audio Plugins Buyer's Guide. Check it out for help in determining your next audio plugin purchases.

Other Top Audio Plugin Articles

Here are additional My New Microphone articles regarding the best audio plugins by type:
• Top 11 Best Saturation Plugins For Your DAW
• Top 11 Best Digital Equalizer/EQ Plugins For Your DAW
• Top 10 Best Digital Parametric EQ Plugins For Your DAW
• Top 10 Best Dynamic EQ Plugins For Your DAW
• Top 8 Best Graphic EQ Plugins For Your DAW
• Top 10 Best Linear Phase EQ Plugins For Your DAW
• Top 10 Best Parametric EQ Emulation Plugins For DAWs
• Top 8 Best Passive EQ Emulation Plugins For Your DAW
• Top 11 Best Digital Compressor Plugins For Your DAW
• Top 11 Best FET Compressor Emulation Plugins For Your DAW
• Top 10 Best Optical Compressor Emulation Plugins
• Top 10 Best Multiband Compressor Plugins For Your DAW
• Top 11 Best Variable-Mu Compressor Emulation Plugins
• Top 11 Best VCA Compressor Emulation Plugins For Your DAW
• Top 10 Best Limiter Plugins For Your DAW
• Top 11 Best Channel Strip Plugins For Your DAW
• Top 11 Best Chorus Modulation Plugins For Your DAW
• Top 9 Best Flanger Modulation Plugins For Your DAW
• Top 9 Best Phaser Modulation Plugins For Your DAW
• Top 11 Best Tremolo Modulation Plugins For Your DAW
• Top 10 Best Analog Delay Emulation Plugins For Your DAW
• Top 10 Best Digital Delay Plugins For Your DAW
• Top 10 Best Tape Delay Emulation Plugins For Your DAW
• Top 12 Best Reverb Plugins (Spring, Plate, Algorithmic, Convolution)
• Top 9 Best Stereo Imaging Plugins For Your DAW
• Top 11 Best Guitar Amp Simulator Plugins For Your DAW
• Top 7 Best Noise Reduction Plugins For Your DAW

The post Top 10 Best Distortion Plugins For Your DAW first appeared on My New Microphone and is written by Arthur Fox.

We're currently living in the age of digital audio, and in-the-box mixing within a digital audio workstation is commonplace. Plugins are, therefore, invaluable assets for the modern audio engineer.

Saturation is an essential tool in the audio engineer's toolbox when dealing with digital audio, which is sterile and clean relative to analog. With so many saturation plugins on the market, 10 stand out as being top performers.

What is saturation? Saturation is an audio effect fusing soft-knee/program-dependent compression with harmonic generation/distortion. It has the effect of producing and enhancing a signal's harmonic profile in a sonically pleasing way. Saturation is achieved naturally with tubes and tape or digitally with plugins.

The Top 10 Best Saturation Plugins Are:

1. FabFilter Saturn 2
2. Softube Harmonics | Saturation Knob | Tape
3. Klanghelm SDRR
4. Waves J37 Tape
5. D16 Group Redoptor 2
6. Soundtoys Radiator
7. Soundtoys Decapitator
8. Sonnox Oxford Inflator
9. Unique Recording Software URS Saturation
10. Brainworx bx_saturator V2

It should go without saying that any “top X” article is subject to bias. I would expect the next person's top 10 to be different from mine, but I hope there would be plenty of overlap.

That being said, I believe these plugins to be the best saturation plugin options today. The criteria I used to judge these plugins include the following:

• Sonic performance: how does the saturation plugin sound subjectively/objectively?
• Graphic user interface (GUI): how does the saturation plugin look when loaded in the DAW?
• Ease-of-use: how user-friendly is the saturation plugin?
• Functionality: how many different functions does it serve and/or how many parameters are available for the saturation effect?
• Accessibility/compatibility: how easy is it to acquire the saturation plugin, and what are the system requirements?

To learn why they made this list, let's discuss each of the top 10 best saturation plugins in greater detail.

Click here to return to the Recommended Gear Page.

FabFilter Saturn 2

The FabFilter Saturn 2 is a multiband saturation plugin with 28 different distortion styles.

The FabFilter Saturn 2 is also featured in My New Microphone's Top 11 Best Distortion Plugins For Your DAW.

FabFilter is one of the top boutique plugin manufacturers in the world. Their feature-rich plugins offer amazing sound quality. The Saturn 2 exemplifies the brand's excellence, delivering everything from subtle warmth to the wildest multiband guitar amp distortion.

Inspired by the vintage sound of tubes, tape, transformers and guitar amps, the Saturn 2 provides a whopping 28 different distortion styles. Each of up to 6 bands can have its own distortion/saturation style with independent feedback, dynamics, drive, tone and modulation controls.

The superb saturation/distortion of the FabFilter Saturn 2 can be easily modulated for impressive results.

Virtually unlimited modulation possibilities of the crossover frequencies, dynamics, band levels and tone controls are made possible with built-in XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources.

With drag-and-drop functionality with a 50-slot modulation matrix, modulation has never been easier!

The plugin also works well on the mastering chain, as it's fully capable of subtle saturation and optional linear phase processing. Add warmth to the master channel without overly affecting important phase relationships and waveform characteristics.

In typical FabFilter fashion, the Saturn 2 comes with interactive MIDI Learn, undo/redo and A/B switches, Smart Parameter Interpolation, “Help” documentation with interactive hints, sample-accurate automation, double-click text entry of parameter values and more.

Here are a few more noteworthy specifications of the superb FabFilter Saturn 2 plugin:

• Adjustable crossover slope (6, 12, 24 or 48 dB/oct)
• Live modulation visualization for targets and sources
• Optional HQ modes:
  • (8x oversampling)
  • Superb (32x oversampling)
• Interactive multiband display
• Supports common Pro Tools hardware control surfaces
• Mid/side processing
• Various interface sizes and Full-Screen mode
• GPU-powered graphics acceleration
• Unique per-component presets
• Interactive MIDI Learn
• Carefully designed and curated Factory Presets, plus the support of V1 presets
• Per-band solo and mute options
• Smart Parameter Interpolation
• Extensive help file with interactive help hints
• Undo/redo
• A/B comparison

For more information on system requirements and authorization instructions, check out the Saturn 2 user manual.

Softube Harmonics | Saturation Knob | Tape

At number 2 on this list, we have a three-for-one. Each of these Softube plugins offers superb saturation in its own right. I've cheated a bit in an attempt to pack as much value as possible into this top 11 (you can think of it as a “top 13” if you'd like).

Let's begin with the Harmonics before moving on to the Saturation Knob and Tape.

Softube Harmonics

The Softube Harmonics is a saturation plugin with 5 component-modelled distortion sounds.

Softube's Harmonics is a smart saturation plugin that uses Revolutionary' Dynamic Transient Control' technology to track incoming signal dynamics and react to the dynamics according to DTC parameters (when engaged).

Additionally, Harmonics offers low and high-pass filters (pre and post-distortion), wet/dry knob for parallel mix control, and THD (total harmonic drive) metering, allowing users to define the perfect amount of saturation or distortion for each and every track in which the plugin is inserted.

I have a video dedicated to parallel saturation if you're interested:

The 5 superb component-modelled distortion/saturation types are Solid, Transformer, Master, Tube and Modern. Control each of these excellent flavours of saturation with the Drive and Character knobs.

For more information on system requirements and authorization instructions, check out Harmonics at Softube.

Softube Saturation Knob

The Softube Saturation Knob is a freebie that offers three modelled distortion modes. It works as a standalone plugin and as part of Softube's Modular virtual Eurorack platform.

This free plugin is very straightforward but sounds incredible. Whether it's as an insert or as part of Modular, the Saturation Knob brings easily-dialled saturation to any digital audio workstation.

The plugin has a single knob and a three-way switch to choose between 3 different kinds of distortion/saturation: Keep High, Neutral and Keep Low. The Keep High mode “keeps” the high-end relatively clean while distorting the low-end, while the Keep Low does the opposite. Neutral mode offers saturation/distortion across the frequency spectrum.

As a quick, easy and free way of adding weight and colour to your tracks, look no further than the Softube Saturation Knob.

For more information on system requirements and authorization instructions, check out Saturation Knob at Softube.

Softube Tape

The Softube Tape is a tape saturation emulation plugin with 3 different tape machine types.

This straightforward tape saturation plugin from Softube provides realistic analog sound, adding cohesion and warmth to individual tracks and mixes at large. Its straightforward design has 3 distinct tape machine types (A, B and C). For quick and easy saturation, choose a tape machine and dial in the Amount knob or, alternatively, choose from the superb presets.

• Type A emulates a precise and linear high-end Swiss reel-to-reel machine
• Type B emulated a colourful transformer-based machine
• Type C emulates a vintage-style British tape machine

Additional control is to be had in the back end, where users can adjust tape speed settings, stability, and crosstalk amount, as well as a mastering grade high shelf filter, stability control, wet/dry mix knob and more.

PreSonus Studio One users are in luck with the Softube Tape since it includes Tape Multitrack, which can be used in the MixFX slot of Presonus Studio One. This means that individual channel crosstalk and single interface control of all tracks are made easy within the DAW.

PreSonus Studio One is featured in My New Microphone's Top 7 Best Digital Audio Workstations (DAWs) On The Market.

For more information on system requirements and authorization instructions, check out Tape at Softube.

Klanghelm SDRR

The Klanghelm SDRR is a superb saturation plugin with 4 distinct modes.

Klanghelm's comprehensive SDRR saturation plugin offers incredible flexibility to ensure the resulting saturation will work perfectly with any audio source in any mix. This saturation plugin has 4 main modes, each of which can be altered by an impressive set of control parameters. The 4 modes are:

• Tube: consists of two different models of a two-stage tube preamplifier
• Digi: designed to precisely add even and/or odd harmonics to program material
• Fuzz: consists of two different models of classic germanium fuzz stompboxes
• Desk: flexible mixing desk channel strip plugin with just a few controls

Related article: Top 12 Best Fuzz Stompbox Pedals For Guitar & Bass.

Each mode has its own unique crosstalk behaviour and reacts dynamically to the input signal to impart its distinct flavour of saturation.

With an impressive collection of parameter controls, the SDRR is an amazing saturation plugin but can also act as a compressor, an EQ, a bit-crusher and a stereo widener.

For more information on system requirements and authorization instructions, check out the Klanghelm SDRR user manual.

Waves J37 Tape

The Waves J37 Tape is a tape saturation plugin modelled after the EMI-modified Studer J37 4-track tape machine from Abbey Road Studio. It has been developed in association with Abbey Road Studio.

The Waves J37 is also featured in My New Microphone's Top 10 Best Tape Delay Emulation Plugins For Your DAW.

The Waves Abbey Road J37 tape emulation plugin provides stunning analog warmth, delivering a level of hardware realism never before experienced “in the box.” It offers an impressive number of controls, including Tape Speed, Bias, Noise, Saturation, Wow and Flutter, Low-pass Filter and High-Pass Filter. This plugin is subtle yet powerful when it comes to adding realistic tape saturation to digital audio.

With 3 exclusive EMI-developed oxide tape formulas modelled, the J37 brings 3 unique frequency responses and harmonic distortion characteristics with a single plugin. Waves has included a comprehensive tape delay unit with a sync control to improve upon an already stunning design further.

For more information on system requirements and authorization instructions, check out the Waves J37 Tape user manual.

D16 Group Redoptor 2

The D16 Group Redoptor 2 is an excellent plugin designed to emulate the organic sound of vintage tube saturation.

D16 Group perfectly emulates the character of a tube amplifier being pushed to break up with its Redoptor 2 plugin.

The Redoptor 2 smoothly responds to the dynamics of the source material, just like a real tube amp, adding both odd and even harmonics to the signal in a sonically pleasing way.

Louder signals get saturated more aggressively with plentiful harmonics and gradually return to their clean state as they decay. This natural tube-style saturation emulated by the Redopter 2 provides superb dynamic distortion.

On top of expertly modelled vacuum tube circuits, the D16 Group Redoptor 2 offers several powerful and interactive parameters.

Adjust the tube bias parameter to add subtle amplification of even harmonics and gentle transient reshaping.

Set the preamp's frequency range, set the high and low cutoff points before or after the signal is processed and engage the 4-band parametric equalizer for advanced tone shaping.

This stereo plugin offers independent stereo channel processing without cross-bleed. Taming the dynamics is made easy with the inclusion of a pre-gain compressor module and master output limiter.

This powerful saturation plugin will get you whatever style of tube saturation you're after with stunning results, and with two alternative GUI sizes, it looks great while doing so!

For more information on system requirements and authorization instructions, check out the Redoptor 2 user manual.

Soundtoys Radiator

The Soundtoys Radiator is a straightforward saturation plugin modelled after the classic Altec 1567A tube mixer from the 1960s.

Soundtoys' Radiator is a dual drive tube input channel and EQ.

The hardware it emulates is a coloured and gritty 1960s rack-mounted five-input tube mixer with a massive 97 dB of gain, removable transformers and a simple 2-knob EQ (with bass and treble control).

Indeed, the Altec 1567A was a distinctive part of the Motown sound from that era.

The warmth and punch of the Altec 1567A are made possible in the box with the Soundtoys Radiator. It, too, has input, output, bass and treble controls. It also has a mix knob for parallel processing.

The plugin also has a switch to emulate the inherent noise of the original or not, along with an input level switch between mic level and line level.

So, although this plugin isn't explicitly labelled as a saturator, you can be sure that its colourful tube circuit emulation will yield top-level saturation.

For more information on system requirements and authorization instructions, check out the Soundtoys Radiator user manual.