Studio Application 1
Vocal engineers who need quiet whispers and loud belt notes to sit comfortably in a modern mix.
Fat Berry DSP / Compressor plug-ins Buying Guide
Control the movement. Keep the music.
Compressor plug-ins shape transient punch, stabilise dynamic range across phrases, and bind multi-track buses into a cohesive performance. Choose fast peak-catching fet/digital designs for unruly transients, smooth optical/program-dependent curves for vocals, or character bus compressors for drum and master glue. Lunch Box: Choose the compression character that fits your track or bus. The G: Console-style VCA bus compression with stepped timing and a parallel Mix. Play the busiest passage and listen to the front of each note. A quick attack can soften that front, while a slower one can leave more of the initial hit. Set the release against the movement of the phrase, then match output level before comparing. For a bus, begin with a small amount of gain reduction. Keep the setting that holds the instruments together while the groove still feels alive and the vocal remains easy to follow. Try every paid option free for 30 days on your own tracks.
Written & tested by Rory Browne (Founder & DSP Developer) · Last updated:
Compare 2 compressor plug-ins
Use Cases & Fit
Who compressor plug-ins are for — and how to choose
Compression is envelope design as much as level control. By choosing when gain reduction starts (attack) and how quickly the amplifier recovers (release), you decide whether a sound jumps forward with extra snap or settles smoothly into the bed of the track.
Studio Application 2
Drum and bass mixers shaping transient crack versus sustain room weight.
Studio Application 3
Bus and mastering engineers seeking transparent or characterful dynamic glue with wet/dry parallel control.
At the desk
How do you choose and dial in compressor plug-ins?
Diagnose whether you are fixing macro level or micro envelope
If a singer drifts 8 dB between verse and chorus, start with clip gain or a gentle optical levelling stage. If individual drum hits poke out of the mix, reach for a compressor with precise attack and release control.
Set attack time by listening to the front of the note
Fast attack (<5 ms) tames sharp transients and pushes the source slightly back; slower attack (15–40 ms) lets the initial pick, consonant, or stick hit pass through uncompressed before clamping the body.
Time the release to breathe with the song tempo
Release should recover before the next beat arrives so the compressor does not stay pinned down, or hold steady across syllables when smoothing a sustained pad or vocal.
Use parallel mix for high-ratio density
Blending a heavily compressed signal at 25–40% wet under the dry track lifts low-level detail and sustain while preserving the natural uncompressed transient peak.
Signal-chain placement
Place after subtractive high-pass EQ so low-end rumble does not trigger gain reduction, and before additive character EQ or spatial sends.
Side-by-side specifications
Compressor plug-ins comparison table
The specifications below come from the published catalogue and release metadata. All licences are perpetual single-user licences (3 machine activations, 14-day full refund window).
| Plug-in | Price (USD) | Formats | OS Support | Best For / Sonic Role | Walkthrough |
|---|---|---|---|---|---|
| Lunch Box | $39.99 | VST3, AU | Windows 10 or later, 64-bit (x86-64) · 11.0 | Choose the compression character that fits your track or bus. | Audio & specs ↗ |
| The G | $19.99 | VST3, AU | Windows 10 or later, 64-bit (x86-64) · 11.0 | Console-style VCA bus compression with stepped timing and a parallel Mix. | Audio & specs ↗ |
How we test at -16 LUFS
Listening tests & common mix mistakes to avoid
Primary listening check
Match makeup gain to the bypassed loudness during the chorus and toggle bypass. Keep the compression only if every word or drum hit is clearer and the groove feels more locked.
Four-step studio audition checklist
- Exaggerate ratio and lower threshold temporarily while tuning attack and release so you can clearly hear the envelope shape.
- Raise threshold back until gain reduction hits your target range (typically 2–4 dB on buses, 4–8 dB on dynamic tracks).
- Set makeup gain by ear with your eyes off the gain-reduction meter so loudness bias does not fool you.
- Listen to the breath noises and room decay between phrases to confirm release is not pumping unwanted background noise.
Common mistakes when using compressor plug-ins
- Using a single compressor to do 15 dB of gain reduction instead of combining clip gain and two gentle serial stages.
- Setting attack too fast on kick and snare buses, sucking the punch out of the rhythm section.
- Boosting makeup gain by 3 dB and mistaking loudness for improved dynamic control.
The tools
Compressor plug-ins, made by Fat Berry.
Each card links to current formats, controls, demos and the live price on its product page.
Compressor
Lunch Box
Choose the compression character that fits your track or bus.
Hear and inspect Lunch Box ↗
Compressor
The G
Console-style VCA bus compression with stepped timing and a parallel Mix.
Hear and inspect The G ↗In-depth technical guides
Related production & mixing guides
Studio notes
Read it, then hear it.
Frequently Asked Questions
Compressor plug-ins FAQ
How much gain reduction should I aim for on a mix bus versus a lead vocal?
On a stereo mix bus, 1 to 3 dB of gentle gain reduction with a slow 20–30 ms attack usually provides cohesion without squashing transients. On a dynamic lead vocal, 4 to 8 dB across peaks is common, especially when split across two serial compressors.
Is there a free compressor plug-in from Fat Berry DSP?
The current dedicated compressors are paid plug-ins: Lunch Box (/plugins/lunch-box, $79.99 USD regular price); The G (/plugins/the-g, $39.99 USD regular price). Both support Windows VST3 and Mac VST3 / AU.
Why does a high-pass sidechain or pre-EQ matter before compression?
Low-frequency energy carries the most voltage in a mix. Without filtering unnecessary sub-bass before the detector, kick drums or mic stand thumps will cause the compressor to duck midrange instruments.