Let’s talk about some of the best multiband compressor plugins you can get today.

A multiband compressor works like having several individual compressors running at the same time, each one controlling a different part of your frequency range. Instead of squashing your entire mix or sound in one go, it lets you compress the lows, mids, and highs separately.

This gives you way more control over your mix and helps you solve problems that regular compressors just can’t fix, like taming harsh high frequencies without killing your low end punch.  They’re perfect when you need surgical precision or when you want to add serious energy to specific parts of your sound. The tricky part is finding the right one for your workflow and budget.

That’s why I’ve put together this guide covering both premium options and completely free tools. You’ll find detailed breakdowns of each plugin, what makes them special, how they actually perform in real sessions, and practical tips for getting better results. If you think that free plugins cover your needs, go for it – that’s why I included them in the list. But don’t forget that many of the paid options offer trials, so you can test those out too!

Whether you’re just starting out or you’ve been producing for years, there’s something here that’ll fit your needs.

1. Devious Machines Multiband X6

Multiband X6 is one of those tools that makes multiband compression feel approachable instead of scary because of versatile preset bank.

Most mb comps look like they belong in a nuclear power plant control room. X6 flips that script by giving you six bands of dynamic control wrapped in an interface that actually makes sense. I tried it on drum buses, vocal chains, and full masters, and it never feels like I’m fighting the plugin.

What pulled me in right away was the zero-latency performance. You can process in real time without audible delay, which matters a lot when I’m tracking or mixing live elements. The plugin doesn’t bog down your sessions either.

Main features:

• Four Character Modes for Different Tonal Flavors

X6 multiband VST compressor gives you four modes that completely change how compression affects your sound. Punch mode keeps transients sharp and clear, which is perfect for drums or anything percussive.

Smooth mode acts like classic FET compression with a natural, even response. Crunch mode adds saturation to loud transients when you want grit or character. Expand mode works as an expander for transient shaping or gating, so you’re not locked into only compressing. I switch between these depending on whether I need clean control or creative coloring.

• Auto-Threshold and Smart Gain Compensation

Setting up multiband compression can take forever if you’re doing it manually. X6’s auto-threshold feature analyzes your input and sets balanced thresholds across all bands, which saves me a ton of time.

The smart gain compensation keeps your output level matched so louder doesn’t trick me into thinking it sounds better. This makes A/B testing way more reliable

• Mid/Side Processing and External Sidechain

You can process the center and sides of your mix separately, which is huge for mastering or width control. Mid/Side mode lets you dynamically shape stereo image without touching your center content. Also, the external sidechain support works across multiple bands, so you can duck bass around kick or create complex interplay between elements.

• Professional Metering and Oversampling

X6 includes peak, true-peak, LUFS, and RMS metering along with a spectrum analyzer showing input and output. You can also enable up to 4× oversampling for cleaner processing at high frequencies. The lookahead up to 20ms helps catch fast transients without distortion, especially useful on aggressive material.

2. FabFilter Pro-MB

What makes Pro-MB multiband compressor plugin different from others is how freely you can place your bands. Instead of forcing you to split your entire frequency range into fixed sections, you can drop a band exactly where you need it and leave everything else untouched.

Similar as with a X6 from DM, I would recommend using Pro-MB when you need surgical control without overcomplicating the workflow. The interface is clean and responsive, and the visual feedback keeps you from guessing what’s happening! You get up to six independent processing bands, and each one can work as a compressor, expander, gate, or limiter depending on how you set it up.

The Dynamic Phase mode is a smart middle ground between minimum phase and linear phase processing. It gives you low latency and avoids the typical phase issues you’d hear with static algorithms, which means you can use it on individual tracks without worrying about artifacts.

Features:

• Flexible Band Placement & Dynamic Control

You’re not locked into adjacent crossover bands like traditional multiband tools. You can create a single band around 3kHz to tame harsh vocals, add another at 80Hz to control low-end rumble, and leave the rest of the spectrum alone.

Each band has its own threshold, ratio, knee, attack, release, and lookahead settings. This setup works great for fixing specific problems without processing the entire signal.

• Multiple Processing Modes Per Band

Pro-MB lets you switch each band between compression, expansion, gating, and even upward compression. I’ve used upward compression to bring out subtle air in a vocal without pushing the louder parts, and downward expansion to clean up room mics between hits.

The side-chain options add another layer, letting you trigger one band based on a different frequency range or external input entirely.

• High-Quality Processing & Visual Feedback

The real-time spectrum analyzer updates smoothly and shows pre, post, or side-chain signal with adjustable resolution. You can see exactly what each band is doing while you tweak it. The plugin also includes common features like dry/wet control, full-screen mode, MIDI learn, and undo/redo.

It’s available in VST, VST3, AU, AAX, and CLAP formats for both macOS and Windows, so compatibility isn’t an issue across most setups.

3. Relab Development Maselec MLA-4

What drew me to the MLA-4 plugin isn’t just its multiband capability. It’s that Relab developed it directly with Leif Mases, the designer behind the original hardware unit.

Most multiband compressors give you compression. The MLA-4 gives you both compression and expansion on each of its three bands, which changes how you can shape dynamics. You’re not just controlling peaks but you can open up quieter details or tighten loose low end while adding air to highs, all in one pass.

I find the per-band THD controls especially useful. You can add subtle harmonic warmth to your low mids without touching the highs, which keeps things from sounding overly digital. It’s a small touch that makes a big difference when you want analog character without the phase mess.

The workflow feels thoughtful. Independent channel monitoring, per-band solo, and adjustable crossover points let you hear exactly what each band is doing to your mix. That level of control matters when you’re working on a master or trying to rescue an overcompressed stem

• Compression and Expansion Per Band

Unlike standard multiband compressors that only reduce peaks, you get compression ratios up to 6:1 and expansion down to 1:2 on each band. Use this when you need to tighten bass while simultaneously expanding the top end for more sparkle. It gives you dynamic control in both directions, which opens up creative possibilities that single-function tools can’t match.

• Per-Band Harmonic Distortion Control

The THD feature lets you dial in analog-style warmth selectively across low, mid, or high bands. When I want my bass to feel warmer without making the entire mix muddy, I add a touch of harmonic content just to the low band. It’s subtle, but it keeps digital mixes from sounding too clean or sterile

• Precise Monitoring and Band Isolation

You get per-band solo, left/right cut, and independent input/output gain controls. This makes it easy to audition what each frequency range is doing and check stereo balance per band

• Transparent Crossover Design

The plugin uses a filter network designed to maintain flat frequency and phase response at unity gain. I’ve used multiband tools that introduce weird phase shifts or tonal imbalance, and the MLA-4 avoids most of that. It stays musical even when you’re making bold moves across multiple bands.

4. BLEASS Multiband Compressor

With MB comp by BLEASS you get tons of presets, especially for mixing.

With this one you can set independent thresholds, attack, release, and ratio settings for low, mid, and high frequencies. That means you can tighten up muddy bass without touching your crisp highs.

I find this especially helpful when working with full mixes or complex sources like drum kits and synths. The crossover points between bands are adjustable, so you can decide exactly where each frequency range starts and stops.

Features:

• Three Customizable Frequency Bands

The plugin divides your signal into low, mid, and high bands with adjustable crossover frequencies. You can compress each band separately, which means you won’t get that annoying “pumping” effect that happens with regular compressors

• Individual Compression Controls Per Band

As mentioned, each band gets its own threshold, attack, release, and ratio controls. This level of detail lets you shape dynamics in a way that feels surgical but musical. When mixing vocals, I would recommend compressing the low-mids more than the highs to keep clarity without losing body

• Perfect For Full Mixes And Stems

BLEASS designed this plugin specifically to avoid volume pumping, which makes it ideal for processing full mixes, stems, and complex instruments like pianos. I’ve used it on entire tracks during mastering and it never sounds over-processed. It works brilliantly on solo instruments and spoken voice too, giving you clean dynamic control without artifacts.

5. Mathew Lane TiAMO

Probably one of the most transparent MB comps out there. I tried it on drums, then it did nothing at first glance, then after I muted it, I was like ohhh sh** Installation seemed a bit of a struggle in a sense that it was different from all other plugin installations.

TiAMO multiband compressor doesn’t follow the usual multiband compressor playbook. Instead of just splitting your audio into three bands and calling it a day, TiAMO gives you three separate sidechains that you can route however you want. That means you can trigger the low band from the high band, or duck the mids based on an external kick drum. It opens up creative options for you.

The plugin uses analog-modeled compression based on Mathew Lane’s TiCo technology, so it doesn’t sound cold or digital. You get that warm, musical glue that makes things sit together naturally. And because it uses linear-phase crossovers, you don’t get the phase smearing that sometimes happens with other multiband tools.

Features:

• Three Independent Sidechains With Mixing Control

What makes TiAMO different is how you can mix sidechain triggers across bands. You’re not locked into a one-to-one setup where the low band only responds to low frequencies.

You can set the high band to trigger compression on the mids, or blend multiple sidechain sources to create movement that feels alive. Each sidechain has its own high-pass and low-pass filters, so you can dial in exactly what frequency range triggers the compression. This is huge for creative pumping effects or building rhythmic grooves that don’t sound mechanical.

• Analog-Style Compression With Modern Precision

The compression itself sounds really good. It’s based on the TiCo analog compressor models, which add warmth and character without making things muddy. I’ve used it on drum busses, synth groups, and even full mixes, and it always adds a bit of life rather than just squashing dynamics.

The linear-phase crossovers keep everything tight and clean, so you get that analog vibe without sacrificing clarity or introducing phase issues.

• Classic Mode For Simple Workflows

When I don’t need all the sidechain routing tricks, TiAMO offers a classic three-band compressor mode. It’s straightforward and fast, perfect for basic multiband compression tasks like controlling bass, balancing mids, or taming harsh highs.

This mode is great for de-essing vocals or adding subtle control to a master bus without diving into complex routing. The plugin doesn’t force you to use advanced features if you just need a solid, musical multiband compressor.

6. Slate Digital MO-TT

If you’ve ever used Ableton’s OTT or Xfer’s version, you know how intense they can be. MO-TT multiband compressor VST  adds modern controls that let you dial it back when needed. I can push it hard on synth basses or keep it gentle on vocals, all in the same plugin.

The three-band design splits your audio into low, mid, and high frequencies, and each band gets its own compression settings. You can adjust thresholds, ratios, attack, release, and most importantly, how much compression happens in each band. That last part is huge because it means you’re not stuck with an all-or-nothing approach.

• Timing Styles for Different Materials

MO-TT includes three timing modes that change how the compressor behaves. Classic mode gives you that traditional OTT punch. Smooth mode works better when I’m processing vocals or melodic instruments because it keeps things natural. Smack mode adds extra bite to drums and percussion

• Quick Set Modes & Presets

The plugin comes with built-in modes like OTT, Hip-Hop, and Vox that get you started fast. The Hip-Hop mode focuses more on low-end weight, while Vox mode targets vocal frequencies.

I use these as starting points instead of building from scratch every time. The preset library covers instruments, drums, vocals, and full mixes, which can save you a lot of trial and error.

• Advanced Band Control & Routing

What separates MO-TT from basic OTT clones is the control depth. You can solo or bypass individual bands, adjust crossover frequencies, and even use external sidechains.

There are high-pass and low-pass filters to keep extreme frequencies out of the processing. When I’m working on a dense mix, being able to shape each band independently makes a real difference.

• Mix Bus & Stem Processing Power

I’ve had great results using MO-TT on my mix bus or on grouped stems. It adds energy and glue without needing a chain of separate plugins. For electronic music, it brings that modern loudness and punch.

For vocals, it evens out dynamics while keeping the performance feeling alive. Just watch your levels because it’s easy to push too hard and squash everything flat.

7. Waves C6 Multiband Compressor

It’s a bit older plugin but still worth to be part of this list. You get four fixed crossover bands plus two floating bands that you can place anywhere in the frequency spectrum. This setup gives you way more control than a standard multiband compressor because you can treat the whole signal as a multiband processor while also addressing specific problem areas with those floating bands.

I’ve found the C6 by Waves multiband compressor plugin especially useful on vocals with multiple issues. You can tame a boomy low end, control harsh sibilance, and balance the midrange all in one plugin instead of chaining together multiple processors.

What C6 offers:

• Six Independent Bands with Flexible Processing

Each of the six bands can run compression, expansion, upward expansion, limiting, or dynamic EQ-style gain changes. The floating bands are particularly helpful because you can position them exactly where you need them, like targeting a specific resonance at 3.2 kHz or taming sibilance around 8 kHz.

I would use this feature when dealing with problem frequencies that regular EQ can’t fix without losing the good parts of the sound.

• Per-Band Sidechain Capability

Every band includes sidechain functionality, which opens up creative possibilities you won’t find in simpler compressors. You can duck specific frequency ranges in response to another track without affecting the rest of the spectrum.

For example, use this to duck the bass frequencies of a synth pad only when the kick hits, leaving the highs untouched. It keeps your mix clean without creating obvious pumping effects across the whole sound!

• Multiple Release Modes and Dynamic Response

C6 offers different release behaviors including VCA-style, opto-style, and automatic ARC release. This flexibility helps you shape how each band recovers after compression. The ARC mode is particularly smart because it adjusts the release time based on the incoming signal, which saves you from constantly tweaking settings.

• Visual Dynamic Line Interface

The plugin shows a real-time dynamic line that displays how your gain changes affect the spectrum as the audio plays. This visual feedback makes it much easier to understand what each band is doing, especially when you’re using the plugin as a dynamic EQ.

8. Drawmer 1973 Multi-Band Compressor by Softube

The Drawmer 1973 VST caught my attention because it gives you three independent frequency bands that you can compress separately, something full-band compressors just can’t pull off.

What I really appreciate is how it combines precision with character. You’re getting FET-based compression that adds warmth without sounding harsh or digital. When I need to tighten up bass, smooth out mids, or add air to the top end, this plugin handles all three at once while keeping everything balanced.

The interface makes sense right away. Each band has its own threshold, attack, release, and gain controls, plus you can adjust the crossover points to decide exactly where those bands split. It’s detailed work, but you stay in control the whole time.

In a nutshell, you get:

• Three-Band Independent Compression

This is where the Drawmer 1973 really delivers. You can compress lows, mids, and highs separately with different settings for each band. If your kick drum needs tightening but your cymbals are already perfect, you can treat just the low end without touching anything else.

Each band also has a mute button if you want to cut a frequency range completely, which helps when you’re dialing in the right balance.

• BIG and AIR Enhancement Switches

These two buttons add tasteful color without extra plugins. The BIG switch boosts low-end warmth and punch, great for beefing up bass guitars or kick drums in a mix that feels thin.

The AIR switch lifts the high frequencies, adding brightness and shimmer to vocals or acoustic guitars without making them harsh. Both work like subtle dynamic EQ moves that feel musical instead of technical.

• Mid/Side Processing Mode

The plugin version adds Mid/Side capability, which means you can process the center and sides of your stereo field separately. This becomes super useful in mastering when you want to compress vocals in the center without affecting stereo synths or reverb tails. It’s the kind of control that turns a good mix into a polished one.

9. PSP oldTimerMB

What drew me to PSP oldTimerMB is how it manages to feel both vintage and practical at the same time. It’s not trying to be the most feature-packed multiband compressor out there, but it nails the “warm and musical” part better than most.

This plugin gives you three bands of compression built on the same algorithm as PSP’s beloved oldTimer single-band compressor. That means you get that same vintage character, just split across low, mid, and high frequencies. I find it perfect when I want to add glue to a mix without making things sound overly processed or digital

The adjustable valve emulation is a nice touch. You can dial in subtle harmonic warmth or push it further for more saturation. It’s one of those features that makes a mix feel more analog without needing actual hardware.

Features:

• Three-Band Compression with Crossover Control

You can set your own crossover points between the low, mid, and high bands. I usually keep the low band focused on bass and kick, the mids on everything else, and the highs on air and shimmer

Each band has its own threshold, ratio, attack, release, and makeup gain, so you’re not stuck with one-size-fits-all settings. The auto-release option is especially helpful when you want the compressor to react naturally to different material without babysitting every parameter.

• Valve Emulation & Stereo Width Per Band

The built-in tube saturation stage adds warmth and harmonic color when you need it. I don’t always push it hard, but even a little bit can make digital sources feel more alive. Each band also has a width control, which lets you adjust the stereo image per frequency range.

That’s super useful when your low end is too wide or your highs need more space. Solo, mute, and bypass switches per band make it easy to hear exactly what each section is doing.

PSP oldTimerMB multiband VST compressor plugin works great on mix buses, mastering chains, and anywhere you want vintage-style multiband compression that doesn’t sound harsh or clinical.

10. SSL G3 MultiBusComp

SSL took their famous bus compressor and gave it three independently configurable frequency bands. You get that classic SSL glue sound, but now you can shape lows, mids, and highs separately instead of crushing everything at once.

I would reach for G3 MultiBusComp plugin when I need to tighten up a full mix or add cohesion to a drum bus without losing detail in different frequency ranges. The 4K Drive feature pulls from SSL’s console heritage and adds warmth or saturation to each band individually, which saves me from loading separate saturation plugins.

The interface is clean and resizable, which I appreciate on smaller laptop screens. You can see your crossover points and thresholds on a visual graph, making it easy to adjust without guessing. When you need to fine-tune exactly what’s triggering compression, you just solo each band and listen.

Things to mention:

• Three-Band Frequency Control

The main reason I picked up G3 MultiBusComp is the ability to compress lows, mids, and highs separately. On a drum bus, I’ll tighten the kick in the low band, glue the snare and toms in the mids, and control cymbals in the highs without any of them fighting each other.

You can set custom crossover points wherever your mix needs them, which gives you real flexibility across different genres and arrangements.

• Per-Band Drive and Saturation

Each frequency band gets its own Drive control based on SSL’s SL 4000 console circuitry. When your mix feels too clean or digital you can add subtle Drive to the low or mid bands for analog-style warmth

You can push it hard for more obvious color or keep it gentle for just a hint of character. The fact that you can apply different amounts to each band means you are not over-saturating the whole mix just to warm up one frequency range.

• Advanced Sidechain Routing

The flexible sidechain options per band changed how I handle frequency masking. I can make the bass compress only when the kick hits by routing the kick to the low band’s sidechain, or duck midrange when vocals get loud without touching the highs or lows.

You can also set high-pass or low-pass filters on the sidechain input, plus use bell filters for even more precise triggering. This level of control helps me create space in dense mixes without manual automation.

G3 MultiBusComp works across VST, AU, and AAX formats and runs on macOS 11 or later and Windows 10 or later. It’s become one of my go-to tools for mix bus processing and group buses where I want SSL’s signature glue with modern multiband precision.

11. Minimal Audio Fuse Compressor

Fuse VST plugin combines serious power with a design that never feels overwhelming.

Most multiband compressors throw a wall of knobs at you and expect you to figure it out. Fuse takes a different approach. You get up to six bands of compression, but the interface keeps everything visual and organized.

The dual compression system is where things get interesting. Each band gives you both downward and upward compression. That means you can squash peaks like normal, but you can also lift quieter details below the threshold. I recommend using it on drums to bring out ghost notes or on vocals to make whispered parts more present without riding faders.

Features:

• Macro Controls for Quick Adjustments

One feature that saves me tons of time is the macro control system. Instead of tweaking threshold or ratio on every single band separately, you can adjust all of them at once with a single knob. When I need fast results or I’m working on a rough mix, this lets me treat Fuse almost like a standard compressor. But when I need precision, I can still dive into each band individually.

• Spectral Tilt and Adaptive Time

The Spectral Tilt control is brilliant for balancing how compression affects lows versus highs. If your mix feels bottom-heavy after compression, you can tilt it toward the treble side without redoing your settings.

Adaptive Time automatically adjusts attack and release based on frequency content, so high frequencies respond faster than lows. This keeps transients clean while still controlling the body of the sound.

• Mid/Side Processing with Soft-Clip Limiter

Fuse includes mid/side and stereo modes plus channel linking, which gives you serious control over your stereo image. Try using M/S mode on the master bus to tighten the center while leaving the sides more dynamic.

The built-in soft-clip limiter stage adds gentle saturation and prevents harsh digital clipping when you push things hard. It’s perfect for getting that polished, glued-together sound without extra plugins.

Fuse works great on mix buses, drum groups, vocals, and even creative sound design. The 40+ presets cover everything from transparent glue to aggressive multiband effects. You can work fast or go deep depending on what your mix needs.

Freebies

1. Analog Obsession KolinMB

KolinMB takes Analog Obsession’s beloved Kolin limiting amplifier and splits it into three frequency bands without losing that vintage character.

What makes this plugin stand out is how much control you get for free. Each band has its own mix knob, which means you can blend compressed and dry signals separately for lows, mids, and highs. That’s huge when you want tight low end but don’t want to crush your entire mix.

I’ve found KolinMB free multiband compressor plugin works best on drum buses and full mixes that need some analog-style glue. The plugin is based on classic tube limiters from the 1960s, so it adds warmth and color naturally. You’re not getting clinical precision here, you’re getting character.

The interface is simple and resizable, which I appreciate. Attack ranges from 1ms to 50ms, and release goes from 0.1 to 3 seconds. That’s enough flexibility for most material without overwhelming you with options.

Features:

• Independent Band Processing with Mix Controls

Each of the three bands gets its own input gain, output control, mix knob, and bypass switch. This setup lets you apply heavy compression to your low end while keeping mids and highs more natural.

The master mix knob gives you one more layer of parallel processing across the whole signal. Use it if you want the compression effect without losing dynamics completely

• External Sidechain Per Band

KolinMB includes external sidechain capability for each frequency band, which opens up creative options. You can duck specific frequency ranges based on another signal, perfect for making space in busy mixes. If you want your bass to pump only when the kick hits, you can set that up without affecting the rest of your mix.

• Vintage Coloration and Character

The plugin doesn’t try to be transparent. It’s modeled after vintage tube limiters, so you get 40dB of gain-compensated input and that warm, slightly saturated sound. This works great on material that feels too clean or digital. Drums especially respond well to this kind of processing.

• Format Support and Resizability

KolinMB runs as VST3, AU, and AAX on both Mac and PC, so compatibility isn’t an issue. The resizable interface means you can scale it to fit your screen setup

2. Xfer OTT

OTT completely changed how I think about dynamics when I first downloaded it years ago. This free multiband compressor from Xfer Records delivers an aggressive, upfront sound that’s become essential in electronic music production.

What makes OTT special is how it handles compression differently than most tools you’ll find. It splits your audio into three frequency bands and applies both upward and downward compression at the same time. The quiet parts get louder while the loud parts get tamed, creating that punchy, in-your-face energy you hear in modern EDM and bass music.

The interface couldn’t be simpler. You get a Depth knob that works like a wet/dry control, a Time knob that adjusts attack and release globally, and basic input/output gain controls. There’s also a visual meter showing you exactly what’s happening to each frequency band in real time.

I would say use OTT on basslines, synth leads, and drum buses. It brings out details I didn’t even know were hiding in the sounds. A soft pad suddenly cuts through the mix. A weak kick drum gets immediate punch and presence.

Key features:

• Upward and Downward Multiband Compression

OTT’s biggest strength is how it processes dynamics in both directions simultaneously. While most compressors only push down peaks, OTT also lifts quiet elements, making everything more present and forward.

This behavior was originally based on an Ableton Live preset but Xfer turned it into a standalone plugin that works in any DAW. You’ll immediately notice how it makes tracks sound louder and more aggressive without just cranking the volume. I actually use it on synths and bass when I need them to dominate the mix.

• Fast Workflow with Minimal Controls

The Depth control is my favorite feature because it lets you blend the compressed signal with your dry sound smoothly. You don’t need to tweak a million parameters to get results.

The Time knob handles attack and release for all three bands at once, which keeps things quick. I can dial in the exact amount of aggression I want in seconds, making OTT perfect for fast production sessions or when you’re just trying ideas.

• Free and Lightweight

OTT runs smoothly on both Windows and Mac, including Apple Silicon. You can download it directly from Xfer Records and it supports VST, AU, and AAX formats.

Because it’s so light on CPU and easy to use (I usually just open the plugin and that’s it), I run multiple instances across track without any performance issues. It’s a nice freebie especially for electronic and bass-heavy genres where you need that modern, punchy sound.

3. Integraudio & Sixth Sample Cramit (OTT on Steroids)

With Cramit VST, you get both – multiband compression and distortion.

Most OTT-style compressors stop at dynamics. Cramit doesn’t. You can add harmonic color before or after the compression stage, which gives you more control over tone and texture in one pass. I find that combination super useful when I want something to punch through without loading three separate plugins.

The interface keeps things straightforward. You get three bands—low, mid, and high—each with independent compression and expansion controls. The visual feedback shows what’s happening in real time, and everything resizes to fit your screen. I like that I can solo or bypass each band to hear exactly what each frequency zone is doing.

Features to mention:

• Multiband Compression With Built-In Expansion

Cramit handles both downward compression and upward expansion at the same time. That means you can tame loud peaks while lifting quiet details in one move. I use this on drum loops all the time to bring out room tone and snap without needing parallel chains. It’s fast and aggressive when you need energy, but you can dial it back with the mix knob if things get too intense.

• Pre or Post Distortion Section

The distortion section is what sets Cramit apart from other free multiband compressors. You can add saturation or drive before or after the compression stage, which changes the character completely. Pre-distortion colors the signal first then compresses it, which feels smoother.

Post-distortion hits harder and adds bite after everything’s already controlled. I switch between the two depending on whether I want warmth or grit.

Cramit works best on synths, bass, drums, and sound design where you want presence and punch. It’s completely free and supports VST3, AU, and AAX on both Windows and Mac. Just keep an eye on the upward compression because it will lift noise along with detail if you push it too hard.

4. Analog Obsession Dynasaur

What caught my attention about Dynasaur free multiband compressor plugin is that it doesn’t fit into just one category. It’s technically a dynamic equalizer with multiband compression capabilities, but I use it more like a surgical problem-solver than a traditional compressor.

The plugin gives you five frequency bands that you can control independently. Each band has its own threshold, ratio, attack, release, and frequency controls. You can narrow or widen each band depending on whether you need broad strokes or precise targeting.

What really makes Dynasaur useful is the RMS and PEAK detection modes on every band. You can set your low end to respond to average levels while your high end reacts to sharp peaks. That flexibility lets you handle different frequency problems with different approaches in one plugin.

Features:

• Flexible Band Control With Adjustable Detection

I appreciate how much control you get over each of the five bands. You’re not locked into fixed frequencies like many multiband tools. Instead, you can adjust the center frequency, bandwidth, and choose between RMS or PEAK detection per band.

This means you can use gentle RMS compression on bass frequencies while using fast PEAK detection to catch harsh treble spikes. It works great when I need to de-ess vocals or tame resonant frequencies without affecting the whole mix.

• Multi-Purpose Dynamic Processing

Dynasaur works as a de-esser, multiband compressor, dynamic EQ, or even a subtle peak rider depending on how you set it up. When I’m mixing vocals and notice sibilance around 7kHz, I can isolate that band, set a moderate ratio with PEAK mode, and address the problem without dulling the entire top end.

On mix buses, I’ll use wider bands with gentler settings to glue elements together. The plugin adapts to what you need instead of forcing you into one workflow.

• It’s Resizable

Understanding Multiband Compression

Multiband compression splits your audio into separate frequency ranges so you can compress each one differently. This gives you way more control than a standard compressor that treats everything the same.

What Sets Multiband Compressors Apart

Standard compressors process your entire signal as one unit. When you turn down the loud parts, you’re turning down every frequency at once. That’s fine for most situations, but it means a boomy kick drum can trigger compression that dulls your vocals, or a bright hi-hat can affect your bass.

Multiband compressors divide your signal into bands, usually anywhere from two to six separate ranges. Each band gets its own threshold, ratio, attack, and release settings. You might compress just the low end to tighten up bass without touching your mids, or control harsh highs while leaving everything else alone.

This approach gives you surgical control over dynamics and tone. You can fix problems in one frequency range without affecting others. It’s like having multiple compressors running at the same time, each one focused on its own job.

When to Use Multiband Compression

I reach for multiband compression when standard compression isn’t solving the problem. Mastering is the most common use because you need to balance the entire frequency spectrum without squashing any one element.

You’ll also want it when dealing with problematic frequency buildup. Maybe your mix has muddy low-mids that need control, but compressing the whole track makes it lifeless. A multiband compressor lets you target just that range.

Mixing bass-heavy genres like EDM, hip-hop, or pop benefits a lot from multiband compression. You can keep your sub bass tight and controlled while letting your mids and highs breathe naturally.

It’s also useful for controlling sibilance or harshness in vocals, taming resonant frequencies in guitars, or adding transparent sidechain compression where you only duck specific frequencies instead of the entire track.

Common Mistakes to Avoid

The biggest mistake I see is over-compressing individual bands. Just because you can compress each range separately doesn’t mean you should slam them all. Too much multiband compression sounds unnatural and disconnected.

Setting crossover points randomly causes problems too. You need to place them thoughtfully based on where your frequency issues actually live. A poorly placed crossover can split an instrument awkwardly between two bands.

Another common issue is using identical attack and release times across all bands. Low frequencies need slower settings than highs, or you’ll get pumping and distortion in your bass while your treble sounds choppy.

Don’t use multiband compression when a standard compressor would work fine. It’s a powerful tool, but adding unnecessary complexity to your chain just makes mixing harder.

Tips for Getting the Most Out of Your Multiband Compressor

Multiband compression becomes truly powerful when you understand how to apply it across different mixing scenarios and musical styles. The key is knowing which frequency bands need control, how much compression suits your material, and when to dial back before you over-process.

Best Practices for Mixing and Mastering

I always start by solo-ing individual frequency bands before applying any compression. This lets me hear exactly what I’m affecting and prevents me from crushing frequencies that don’t need control.

When mixing, I keep my ratios gentle, usually between 2:1 and 4:1. Aggressive ratios work for mastering, but during the mix stage, subtle compression maintains natural dynamics. I set my attack times based on the material: faster attacks (1-10ms) for controlling transients, slower attacks (20-40ms) for preserving punch.

Release times matter more than most people think. I match them to the tempo of my track so the compression breathes with the music. For mastering, I use multiband compression as my final polish, not a fix for mixing problems.

One trick I’ve learned is to compress only problem frequencies rather than splitting the entire spectrum. If your low end sounds loose, compress just the 60-150Hz range. If vocals get harsh, target 2-5kHz. You don’t need to activate every band just because it’s there.

Enhancing Vocals, Drums, and Instruments

For vocals, I focus on the 200-800Hz range to control muddiness and the 3-6kHz band to tame harshness without losing presence. I keep ratios around 3:1 with medium attack times so consonants stay clear.

With drums, I split my approach. I’ll compress 60-120Hz to tighten kick drums, then handle the 2-8kHz range separately to control snare snap and hi-hat brightness. Bass guitars benefit from compression in the 80-200Hz zone where boominess lives.

Guitars need careful handling. I compress the 300-800Hz midrange when they sound boxy, but I’m gentle with ratios. Electric guitars often need presence band control (2-4kHz) during busy mixes.

Practical Settings for Different Genres

EDM and electronic music benefit from aggressive multiband compression. I use ratios up to 6:1 on bass frequencies (40-150Hz) to create that tight, pumping low end. The mid and high bands get lighter treatment at 3:1.

For rock and metal, I compress drums heavily in the low-mid range (100-400Hz) to keep them punchy against distorted guitars. I leave the top end (8kHz+) mostly untouched to preserve cymbal detail.

Hip-hop tracks need controlled low end. I compress 50-100Hz at 4:1 to keep 808s consistent, then lightly compress 150-400Hz to control vocal body without making it thin.

In jazz and acoustic music, I use the lightest touch possible, often just 2:1 ratios with slow attack times. I only compress frequencies that truly need control, usually the low-mids around 200-400Hz where acoustic instruments can build up.