Best Vocal Compressor Plugins (From 1176 to CLA-2A to Distressor Emulations)

Vocal compression is not one-size-fits-all. The compressor you reach for on an aggressive rap vocal is the wrong choice for a delicate ballad lead, and the optical leveling that smooths out an R&B performance will sound sluggish on a rock chorus. The question is not which vocal compressor is "best" — it is which compressor type matches the vocal, the genre, and the stage of your chain. This guide breaks down every major vocal compressor plugin family in 2026, from 1176 FET emulations to LA-2A optical clones to Distressor multi-mode tools, with real pricing, format support, and parallel compression workflows for each.

This is written by YECK, founder of MixingGPT. I have used every plugin on this list on actual vocal sessions across hip-hop, pop, R&B, and rock. MixingGPT is an AI mixing advisor — not a plugin — so I have no financial incentive to push one compressor brand over another. What I do have is an opinion formed from hundreds of hours of A/B testing these tools on vocal tracks. If you want the broader compressor landscape beyond vocals, our 2026 compressor plugin comparison covers mix bus, multiband, and AI-powered options. For the full vocal chain context, our step-by-step vocal chain guide shows where compression fits relative to EQ, de-essing, and reverb.

Quick Comparison: Vocal Compressor Plugins at a Glance

Before diving into each plugin, here is the full landscape. The table below covers every plugin discussed in this article with its compressor type, supported formats, current price, and the vocal scenario it handles best.

FET vs Optical vs VCA vs Tube: Which Compressor Type for Vocals?

Before evaluating individual plugins, you need to understand the four compressor topologies that matter for vocal mixing. Each type has a distinct sonic signature, response speed, and ideal use case. Choosing the wrong type is the most common vocal compression mistake I see — and it is usually the root cause of vocals that sound either squashed or lifeless. If you want a deeper dive into chain-order mistakes, our article on common mix engineer mistakes covers this in detail.

FET Compressors (1176 family)

FET (Field Effect Transistor) compressors use a transistor to control gain reduction. They are fast — attack times as fast as 20 microseconds on the 1176 — and aggressive. FET compressors grab transients hard and add forward, punchy character. On vocals, they are the go-to for controlling loud peaks, adding presence, and making a vocal cut through a dense mix. The 1176 is the archetype, and its all-buttons-in mode creates a distorted, smashed sound that is legendary for parallel vocal compression.

When to use on vocals: Lead vocals in hip-hop, rock, and aggressive pop. Background vocals that need to sit forward. Any vocal that needs to "step up" in a busy arrangement.

Optical Compressors (LA-2A family)

Optical compressors use a light source and a light-dependent resistor to control gain. The physical properties of the photoresistor create a program-dependent response — the compression adapts to the source material automatically. There is no attack or release control, just peak reduction and gain. The result is smooth, musical leveling that glues vocal dynamics without obvious artifacts. Optical compressors are slower than FET, which means they let transients through and focus on the body of the sound.

When to use on vocals: Lead vocals in R&B, pop ballads, jazz, and acoustic genres. Any vocal that needs smooth leveling rather than aggressive peak control. Second-stage compression after a FET compressor has tamed the peaks.

VCA Compressors (SSL family)

VCA (Voltage Controlled Amplifier) compressors use a control voltage to adjust gain. They are the cleanest and most transparent of the four types, with precise attack and release control. VCA compressors are rarely the primary vocal compressor — they are too clean for that role — but they excel at bus compression. On a vocal bus or group, a VCA compressor like the SSL G-Master Buss glues multiple vocal tracks together without coloring the individual tone.

When to use on vocals: Vocal bus compression. Group compression on backing vocal stacks. Any situation where you need transparent glue without character.

Tube Compressors (Tube-Tech CL 1B family)

Tube compressors use vacuum tubes in the gain circuit, adding harmonic saturation as they compress. They combine the smoothness of optical compression with the warmth of tube coloration. The Tube-Tech CL 1B is the most famous example, and it has become the signature vocal compressor in modern R&B and pop — Jaycen Joshua uses it as a core part of his vocal chain, as we detail in our breakdown of Jaycen Joshua's vocal chain. Tube compressors are slower than FET but more colorful than optical, making them the sweet spot for vocals that need both control and character.

When to use on vocals: R&B and pop lead vocals. Any vocal that needs warmth and presence simultaneously. First-stage compression when you want the compressor to define the vocal's tone, not just its dynamics.

1176 Emulations: The FET Vocal Compressor Shootout

The UREI 1176 is the most emulated compressor in plugin history. Its fast FET response, fixed attack/release characteristics, and all-buttons-in mode make it the default choice for vocal punch. Three emulations dominate the market in 2026: Waves CLA-76, UAD 1176, and Arturia Comp FET-76. Each has its own strengths, and the right choice depends on your budget, hardware ecosystem, and how much authenticity you need.

Waves CLA-76 — The Accessible FET Workhorse

The Waves CLA-76 is the most widely used 1176 emulation in project studios, and for good reason. It captures the core FET character — fast attack, aggressive grab, and the explosive all-buttons-in mode — at a price that makes it accessible to anyone. Chris Lord-Alge himself collaborated on the modeling, and his presets are included for vocal, drum, and bass starting points. The plugin offers both the "Bluey" (Rev B) and "Blacky" (Rev D-LN) versions of the hardware, giving you two distinct flavors of 1176 character.

On vocals, the CLA-76 excels at catching loud peaks and adding forwardness. Set the ratio to 4:1, attack to 3 (relatively fast), release to 5 (medium), and adjust the input so you see 5–7 dB of gain reduction on the loudest phrases. The all-buttons-in mode (all ratio buttons pressed simultaneously) creates a distorted, smashed character that is perfect for parallel vocal compression — blend it underneath the dry vocal at -15 dB for instant density without losing dynamics.

Pricing: $29.99 list, frequently on sale for $9.99–$19.99 during Waves sales. VST3, AU, and AAX on macOS and Windows. No hardware required. The CLA Classic Compressors bundle includes CLA-2A, CLA-3A, and both CLA-76 versions for $299 list (frequently on sale for $89.99) — the best value purchase on this entire list.

UAD 1176 — The Premium FET Reference

The UAD 1176 is the most meticulously modeled 1176 emulation available. Universal Audio's circuit-level modeling captures the input and output transformer behavior, the FET gain reduction curve, and the harmonic distortion that the hardware generates when pushed hard. The UAD version includes three revisions — Rev A "Bluestripe", Rev E "Blackface", and 1176AE "Anniversary Edition" — each with distinct tonal characteristics. The AE model includes a unique 2:1 ratio and a fixed slow 10ms attack mode not found on the other revisions.

On vocals, the UAD 1176 has a slightly richer midrange and more complex harmonic content than the CLA-76. The difference is most noticeable on sparse arrangements where the vocal is exposed — the UAD version has a more organic, less "plugin-like" quality. In a dense mix with lots of instruments, the difference narrows significantly. The UAD 1176 also excels at serial compression: use it first in the chain to shape peaks, then follow with the UAD LA-2A for leveling.

Pricing: $299 for the 1176 Classic Limiter Collection (includes all three revisions). Requires UAD hardware (Apollo interfaces starting at $499, or UAD-2 Satellite). VST3, AU, and AAX on macOS and Windows. This is the most expensive 1176 option, and the hardware requirement makes it a significant investment — but if you already own UAD gear, it is the best 1176 plugin available.

Arturia Comp FET-76 — The Modern 1176 Alternative

Arturia's Comp FET-76 is the dark horse of the 1176 emulation world. It models the Rev D/E hardware and adds modern features that the original 1176 lacks: a sidechain EQ with high-pass and low-pass filters, a dry/wet mix knob for built-in parallel compression, and a Time Warp pre-delay control for creative compression timing. These additions make it the most flexible 1176 emulation for vocal mixing, especially when you need to filter out low-frequency content from triggering the compressor.

The sidechain HPF is genuinely useful on vocals — set it to 80–100 Hz and the compressor stops reacting to plosives and low-end rumble, focusing instead on the midrange where vocal presence lives. The dry/wet mix knob lets you do parallel compression without setting up a separate aux track, which is a workflow advantage in fast sessions. The core FET character is slightly less aggressive than the CLA-76 or UAD 1176, leaning more toward clean than colored.

Pricing: $199 for the Comp FET-76, or available as part of the Arturia FX Collection bundle. VST3, AU, and AAX on macOS and Windows. No hardware required. The bundle represents excellent value if you want the Comp FET-76 alongside other Arturia effects, but as a standalone purchase it is more expensive than the CLA-76 for 1176 vocal duties.

LA-2A Emulations: The Optical Vocal Leveler Shootout

The Teletronix LA-2A is the smoothest vocal compressor ever built. Its optical circuit creates program-dependent compression that adapts to the source — loud passages get more reduction, quiet passages get less, and the transition between the two is seamless. There are no attack or release knobs, just peak reduction and gain. This simplicity makes it incredibly fast to use and nearly impossible to make sound bad. Three emulations matter for vocal mixing in 2026: Waves CLA-2A, UAD LA-2A, and the Tube-Tech CL 1B (which is not a direct LA-2A clone but occupies the same optical/tube territory).

Waves CLA-2A — The Smooth Vocal Leveler

The Waves CLA-2A is the most accessible LA-2A emulation and the one I see in more project studio vocal chains than any other optical compressor. It captures the slow, musical gain reduction that makes the LA-2A so effective on vocals — the compression sneaks in after the transient, levels the body of the note, and releases gently. The CLA-2A has two controls (peak reduction and gain) plus a limiter switch, and the simplicity is the point. You set the peak reduction to get 2–4 dB of gain reduction on average, adjust the gain to match the output level, and you are done.

On vocals, the CLA-2A is the perfect second-stage compressor after a 1176 has caught the peaks. The 1176 handles the transients; the CLA-2A smooths the remaining dynamics. This two-compressor approach is the backbone of professional vocal chains — CLA himself uses this exact combination, as we document in our article on Chris Lord-Alge's mixing tricks. The CLA-2A also excels on bass guitar, background harmonies, and any vocal that needs to sit consistently in the mix without obvious compression movement.

Pricing: $29.99 list, frequently on sale for $9.99–$19.99. VST3, AU, and AAX on macOS and Windows. No hardware required. Combined with the CLA-76 in the CLA Classic Compressors bundle ($299 list, on sale for $89.99), this is the best value vocal compression purchase available.

UAD LA-2A — The Premium Optical Reference

The UAD LA-2A is the most accurate LA-2A emulation available, modeling three distinct hardware units: the LA-2A silver, LA-2A gray, and LA-2 (the predecessor). Each has a different tube character and optical cell response. The silver version is the cleanest and most modern-sounding, the gray has the most classic tube warmth, and the LA-2 has the most vintage, colored character. This variety gives you three distinct optical flavors for vocal leveling.

On vocals, the UAD LA-2A has a richer, more complex harmonic signature than the CLA-2A. The tube saturation is more audible, especially when you push the peak reduction harder. The gray model in particular adds a warmth to the lower midrange that makes vocals sound expensive — it is the optical compressor I reach for on R&B and pop ballad leads where the vocal needs to sound luxurious. The difference between the UAD and Waves versions is more noticeable than the 1176 comparison, because optical compression is more dependent on the tube character for its sonic signature.

Pricing: $299 for the LA-2A Classic Leveler Collection (includes all three models). Requires UAD hardware. VST3, AU, and AAX on macOS and Windows. Like the UAD 1176, this is a premium investment that pays off if you already own UAD gear.

Tube-Tech CL 1B — The R&B Vocal Secret Weapon

The Tube-Tech CL 1B is not a direct LA-2A clone — it is a tube/optical hybrid compressor that has become the defining sound of modern R&B and pop vocals. Softube's emulation, developed in collaboration with Tube-Tech, captures the hardware's signature warmth, slow optical response, and tube harmonic richness. The CL 1B has more controls than an LA-2A (attack, release, ratio, and gain), giving you more flexibility while maintaining the smooth, musical character that optical compression is known for.

On vocals, the CL 1B does something the LA-2A emulations cannot: it adds a specific warmth and body to the lower midrange that makes vocals sound full and intimate simultaneously. This is the compressor that Jaycen Joshua uses on his vocal chain, and it is a major reason why his mixes have that signature warm, present vocal sound. The CL 1B is also excellent on background vocal stacks — it glues them together while adding character that makes the group sound like a cohesive performance rather than individual tracks.

Pricing: $199 from Softube. VST3, AU, and AAX on macOS and Windows. No hardware required. Also available as part of the Softube Mix Bundle. This is the most expensive optical/tube option without UAD hardware, but for R&B and pop vocal mixing, it is worth every penny.

Distressor Emulations: The Swiss Army Knife Vocal Compressor

The Empirical Labs Distressor is the most versatile compressor ever designed. It can emulate 1176-style FET aggression, LA-2A-style optical smoothness, and add its own unique distortion character via the British mode and harmonic distortion circuits. For vocal mixing, this versatility means one plugin can cover peak control, leveling, and creative coloration. Two emulations matter in 2026: the UAD Distressor and Slate Digital FG-Stress.

UAD Distressor — The Authentic Multi-Mode Monster

The UAD Distressor is the most accurate emulation of the hardware, modeling the full circuit including the opto and FET modes, the British mode (which emulates the 1176 all-buttons-in sound), and the distortion circuits. On vocals, the Distressor excels in two scenarios: aggressive lead vocals that need FET punch with more control than a 1176 provides, and parallel compression where the British mode adds harmonic excitement without killing the dry signal.

The Distressor's advantage over a dedicated 1176 is its attack and release controls — you can set the attack much slower than the 1176's fixed stepped settings, which lets transients through before compressing — something the 1176 cannot do. This makes it more flexible for vocals with varying dynamics, where you sometimes want to catch peaks and sometimes want to let them through for a more natural sound. The 10:1 ratio with British mode is the Distressor's signature vocal sound — aggressive, distorted, and perfect for parallel processing on rap and rock vocals.

Pricing: $299, requires UAD hardware. VST3, AU, and AAX on macOS and Windows. The hardware requirement makes this a significant investment, but if you own UAD gear, the Distressor is the most versatile vocal compressor in their ecosystem.

Slate Digital FG-Stress — The Distressor Without Hardware

The Slate Digital FG-Stress is the best Distressor emulation that does not require UAD hardware. It models the same circuit modes — opto, FET, and British — with accurate attack, release, and ratio behavior. The FG-Stress is available as part of the Slate Digital All Access Pass subscription ($14.99/month or $149/year), which makes it accessible to engineers who prefer a subscription model over perpetual licenses. The modeling is slightly less detailed than the UAD version, particularly in the British mode distortion character, but for vocal mixing the difference is minimal in a full mix context.

On vocals, the FG-Stress handles the same scenarios as the UAD Distressor: aggressive peak control with the FET modes, smooth leveling with the opto mode, and creative parallel compression with British mode. The sidechain filter is a useful addition that the hardware Distressor lacks, letting you filter out low frequencies from triggering compression on vocals with heavy low-end content.

Pricing: $149 list (frequently available for $99), or included in the Slate Digital All Access Pass ($14.99/month). VST3, AU, and AAX on macOS and Windows. No hardware required. The subscription option makes this the most accessible way to get Distressor-style compression on vocals.

SSL Bus Compressor: Gluing Your Vocal Stack

Individual vocal compression is only half the equation. Once you have compressed your lead, doubles, ad-libs, and background harmonies individually, you need to glue them together on a vocal bus. The SSL G-Master Buss Compressor is the standard tool for this job — it is a VCA compressor modeled after the center section of the SSL 4000 console, and its transparent, musical glue has been the sound of hit records for decades.

On a vocal bus, set the SSL G-Master to 4:1 ratio, attack to 10ms (slow, letting vocal transients through), release to auto, and adjust the threshold for 2–3 dB of gain reduction. The result is subtle but transformative — your vocal stack suddenly sounds like a cohesive performance rather than separate tracks. The SSL does not add significant color, which is exactly what you want at the bus stage: the individual compressors have already added character, and the bus compressor's job is to unify, not to color further.

Waves SSL G-Master Buss ($149, frequently on sale for $49–$79) is the most widely used SSL bus compressor emulation. Cytomic The Glue ($99) is a budget alternative that many engineers prefer for its slightly more transparent sound and additional sidechain filter controls. For vocal bus duties specifically, both deliver the glue you need — the choice comes down to price and whether you want the SSL brand name or a cleaner alternative. For a broader look at bus compression across your entire mix, our compressor plugin guide covers the SSL G-Master in the context of mix bus and drum bus applications.

Parallel Compression: Making Vocals Sound Expensive

Parallel compression is the single most effective technique for making vocals sound professional without over-compressing them. The concept is simple: keep one copy of the vocal uncompressed (or lightly compressed), and blend a heavily compressed copy underneath. The compressed copy adds density, sustain, and presence without sacrificing the dynamics and transient detail of the dry signal.

Each compressor type produces a different parallel compression character on vocals:

• FET parallel (1176 / CLA-76): Use all-buttons-in mode with 10–15 dB of reduction. Blend at -15 to -20 dB underneath the dry vocal. This adds aggressive forwardness and density — ideal for rap, rock, and pop vocals that need to cut through. The 1176's fast attack catches every transient, and the all-buttons-in distortion adds harmonic excitement that makes the vocal sound louder without actually being louder.
• Optical parallel (LA-2A / CLA-2A): Push the peak reduction for 6–8 dB of gain reduction. Blend at -12 to -18 dB. This adds smooth sustain and body without aggression — ideal for R&B, ballads, and acoustic vocals where you want the vocal to sound fuller and more present without any edge. The optical circuit's slow attack means transients pass through uncompressed, preserving natural dynamics.
• Tube parallel (Tube-Tech CL 1B): Set for 5–7 dB of reduction with a slow attack. Blend at -12 to -15 dB. This adds warmth and harmonic richness — ideal for vocals that need to sound "expensive" and intimate. The tube saturation in the parallel path adds character that is impossible to achieve with EQ alone.
• Distressor parallel (British mode): Set the ratio to 10:1 with British mode engaged, 10–15 dB of reduction. Blend at -15 to -20 dB. This combines FET aggression with distortion character — the most aggressive parallel option, ideal for rap ad-libs and rock vocals that need maximum intensity.

The key to all parallel compression is the blend level. Start with the compressed signal fully muted, then bring it up slowly until you hear the vocal gain density and presence without hearing the compression itself. If you can hear the compressed signal as a separate entity, it is too loud. For more parallel compression techniques in the context of a full vocal chain, our step-by-step vocal chain guide includes parallel compression settings for each stage.

How to Choose the Right Vocal Compressor

Stop thinking about which compressor is "best" and start thinking about which compressor solves your specific vocal problem. Here are four real-world scenarios with concrete recommendations:

• Scenario 1 — Aggressive rap vocal: Your lead vocal needs to cut through a heavy 808-based beat. Recommendation: Waves CLA-76 at 4:1, fast attack, medium release, 5–7 dB of reduction. Follow with CLA-2A at 2–3 dB for leveling. Add a parallel CLA-76 all-buttons-in blend at -15 dB. Total cost: $59.98 if purchased individually, or $89.99 for the full CLA bundle (includes CLA-3A). This is the most cost-effective professional vocal compression chain available.
• Scenario 2 — Smooth R&B lead: Your vocal needs warmth, presence, and consistent leveling without aggressive character. Recommendation: Tube-Tech CL 1B as the primary compressor with 3–4 dB of reduction, slow attack, auto release. Follow with CLA-2A at 1–2 dB for final smoothing. Add a parallel CL 1B blend at -12 dB for body. Total cost: $228.99. This chain delivers the warm, intimate vocal sound that defines modern R&B.
• Scenario 3 — Pop vocal with wide dynamics: Your singer moves between whispered verses and belted choruses, and you need consistent level throughout. Recommendation: UAD 1176 (or CLA-76) at 4:1 for peak control, followed by UAD LA-2A (or CLA-2A) for leveling. The FET catches the loud moments, the optical smooths everything else. Add a Waves Vocal Rider before compression for automatic level matching. For the full R-Vox + 1176 + CLA-2A + Vocal Rider workflow, see our dedicated vocal compression guide.
• Scenario 4 — Dense background vocal stack: You have 12 tracks of harmonies and doubles that need to sound like one cohesive performance. Recommendation: Compress each track individually with CLA-76 at 3–4 dB, then route all to a vocal bus with SSL G-Master Buss at 2:1, 10ms attack, auto release, 2–3 dB of reduction. The individual compression controls dynamics; the bus compression glues the stack together. For EQ tips on carving space for background vocals, our EQ plugin guide covers frequency carving for vocal stacks.

After compression, your vocal still needs de-essing, saturation, EQ, and reverb to complete the chain. For the next stages, check out our guides on de-esser plugins, saturation plugins, and reverb plugins — each one covers vocal-specific settings and workflows. If you want to explore how AI tools can assist with vocal processing decisions, our AI vocal plugins guide is the next stop.

Where Vocal Compression Is Going Next

Three trends are reshaping vocal compression in 2026 and beyond:

1. AI-assisted compression settings. Tools like MixingGPT can analyze a vocal and recommend specific compressor choices, ratios, attack/release times, and threshold settings based on the genre and the dynamic profile of the performance. This does not replace the engineer's judgment, but it eliminates the trial-and-error phase that wastes time in fast sessions. Expect every major plugin manufacturer to integrate some form of AI setting recommendation within the next two years.

2. Hybrid compressor topologies. The Distressor proved that a single compressor can cover multiple topology types. Expect more plugins to follow this path — combining FET, optical, and tube characteristics in a single plugin with switchable modes. This reduces plugin count and simplifies the vocal chain while maintaining sonic flexibility. Arturia's Comp FET-76 already hints at this with its modern sidechain and parallel controls grafted onto a classic topology.

3. Automatic vocal leveling before compression. Tools like Waves Vocal Rider and iZotope Nectar's vocal assistant are increasingly being used as a first stage before traditional compression. They handle the coarse level matching, letting the compressor focus on tone and character rather than catching wild level swings. This two-stage approach — automatic leveling followed by character compression — is becoming the default workflow in professional vocal chains. For more on this workflow, our R-Vox + 1176 + CLA-2A + Vocal Rider guide covers the exact settings.

Frequently Asked Questions

What is the best compressor plugin for vocals?

The best vocal compressor depends on the vocal style and genre. For aggressive, forward vocals in hip-hop and rock, the 1176 (Waves CLA-76 or UAD 1176) is the gold standard. For smooth, warm vocals in pop and R&B, the LA-2A (Waves CLA-2A or UAD LA-2A) is the go-to. For maximum flexibility across genres, the Tube-Tech CL 1B offers tube character with program-dependent compression that adapts to any vocal.

What is the difference between FET, optical, VCA, and tube compressors for vocals?

FET compressors like the 1176 are fast and aggressive, ideal for taming vocal transients and adding punch. Optical compressors like the LA-2A are smooth and program-dependent, perfect for leveling vocals without obvious compression artifacts. VCA compressors are clean and precise, best for bus compression and transparent control. Tube compressors like the Tube-Tech CL 1B add harmonic warmth and character while compressing, making them ideal for vocals that need both control and color.

Should I use parallel compression on vocals?

Yes. Parallel compression is one of the most effective techniques for vocals because it preserves transient detail and natural dynamics while adding density and presence. The standard approach is to duplicate your vocal, compress the duplicate aggressively with an 1176 (all-buttons-in mode, 10+ dB of reduction), and blend it underneath the uncompressed signal at around -15 to -20 dB.

Is the Waves CLA-76 as good as the UAD 1176?

For most vocal mixing tasks, the Waves CLA-76 delivers 90% of the UAD 1176 sound at a fraction of the cost and without requiring UAD hardware. The UAD 1176 has slightly more accurate transformer modeling and harmonic content, which matters more on critical drum bus and bass duties. For vocals specifically, the difference is negligible in a full mix, and the CLA-76 is the smarter investment if you do not already own UAD hardware.

Do I need a Distressor emulation for vocal mixing?

The Distressor is not essential for vocal mixing, but it is the most versatile compressor on this list. It can emulate 1176-style FET aggression, LA-2A-style optical smoothness, and add its own unique distortion character via British mode. If you can only afford one compressor plugin for vocals, the Distressor emulation covers the widest range of sounds. However, dedicated 1176 and LA-2A emulations still sound more authentic for their specific characters.

How much do vocal compressor plugins cost in 2026?

Vocal compressor plugins range from $29.99 to $299. Waves CLA-76 and CLA-2A are $29.99 each (frequently on sale for $9.99–$19.99). Arturia Comp FET-76 is $199. UAD 1176 and LA-2A are $299 each and require UAD hardware. The Tube-Tech CL 1B is $199 from Softube. The SSL G-Master Buss Compressor is $149 from Waves.

Verified June 2026. Plugin versions and pricing reflect manufacturer listings as of this date. Waves plugins are subject to frequent sales — prices listed are MSRP with typical sale ranges noted. UAD plugins require Apollo interfaces or UAD-2 hardware. Slate Digital FG-Stress is available via subscription or perpetual license. For the latest on AI-assisted vocal compression workflows, check our AI vocal plugins guide and delay plugin guide for the full vocal chain.