Analog Obsession has built an amazing catalog of free plugins that bring those classic tones straight into your DAW, so here are the Best Analog Obsession Plugins to add to your collection.
From EQs that make your mixes sing, to vintage compressors and preamps that add warmth and punch, to reverbs and channel strips that glue your tracks together, these plugins punch way above their weight.
I’ve tested and used most of them, and what I love is that they’re all intuitive, resizable, and surprisingly versatile, making them perfect for beginners and seasoned producers alike.
In this guide, I’m going to walk you through some of my favorite Analog Obsession plugins, highlighting what makes each one special, how I use it in my workflow, and why they’ve earned a permanent spot in my toolkit. Let’s dive in and check out the best of Analog Obsession!
1. OAQ
My first pick OAQ, shines with how effortlessly it hits that sweet spot between flexibility and simplicity.
A lot of mastering EQs swing too far one way or the other; they either bury you under endless parameters or leave you wishing for more control. OAQ manages to keep things focused, musical, and intuitive. The moment I loaded it up, it felt like a plugin that just gets it.
The interface is clean, minimal, and resizable, which makes long mastering sessions a breeze. I appreciate how organized it feels, everything’s right where it should be, with a workflow that encourages subtle, confident moves instead of endless tweaking.
- 6-Band EQ with Selectable Frequencies
I love how each band comes with carefully tuned frequency points that sound good no matter what you do. Instead of scrolling through endless numbers or hunting for “the right” range, OAQ gives you a curated set of tonal sweet spots. It’s almost like using a mastering console where every knob turn feels musical.
- Mid-Side & Dual-Mono Processing
This is where OAQ really earns its place in my chain. Being able to sculpt the mid and side channels independently lets me subtly enhance width and depth without breaking the mix’s balance.
It’s a simple control, but it makes all the difference when you want to make a master breathe just a little more.
- Drive with x4 Oversampling
This feature is a gem. OAQ isn’t just a sterile digital EQ, once you engage the Drive knob, it adds a touch of analog-style warmth that feels smooth, not smeared. The x4 oversampling keeps everything pristine, even when pushing it hard. I often use just a hint of Drive to glue the low mids or sweeten the highs.
If I had to nitpick, the resizing can be a little finicky, especially when opening new instances. It’s not a dealbreaker, though, once it’s set, OAQ remembers your preferences perfectly.
OAQ feels like one of those rare free plugins that behaves like a paid, high-end mastering EQ. It’s elegant, musical, and absolutely worth a spot in your mastering toolkit.
OAQ comes in VST3 and AAX for Windows, and AU, VST3, and AAX for macOS users.
2. ATTRACTOR
What instantly grabbed me about Attractor is how it takes dynamic control and gives it a refreshing twist.
Instead of the usual one-size-fits-all compressor, Attractor splits the incoming signal into two independent parts: Attack and Release. That means you can treat transients and tails separately, sculpting the shape and energy of your sound with surgical precision.
I’ve used it on drums, vocals, and even full mixes, and it consistently finds a way to make things feel more alive without ever sounding over-processed. The interface keeps things simple but clever, a clean layout with big, responsive knobs and a resizable window that goes from 50% to 200%. It’s easy on the eyes and performs smoothly on both Mac and Windows.
- Attack/Release Split Processing
This is the heart of Attractor, as being able to shape the attack and release portions independently opens up a new level of transient control. On drums, I can tighten the punch of the kick while softening the sustain, or do the opposite for a more room-heavy vibe. It’s subtle, musical, and perfect for refining dynamics in a mix.
- Built-in Compression with Auto-Gain
I love that the compressor doesn’t make you overthink. The auto attack and release times react beautifully to the signal, so you can focus on tone instead of endless tweaking.
Plus, the auto-gain keeps your levels consistent, which is a blessing when you’re balancing multiple sources.
- Saturation with Auto-Gain & Tone Shaping
Engaging the Saturation adds warmth and depth without harshness. It’s that analog glue Analog Obsession is known for, a bit of grit that makes tracks feel more finished.
The LOW and HIGH controls at 120Hz and 8kHz (+-12dB) let me fine-tune the tonal balance right from the plugin. It’s perfect when I want a bit of extra thump or sheen.
The Mix knob is another highlight, letting me blend in the processed and dry signals easily for parallel-style dynamics. It’s especially useful on vocals, where I like to keep the transients crisp but preserve the natural feel underneath.
If there’s one limitation, it’s that Attractor doesn’t include oversampling. So if you’re pushing the saturation hard, you might catch a hint of aliasing. But in real use, it’s rarely an issue, especially considering this thing is completely free.
Overall, it feels like a no-brainer addition to any dynamics toolbox. It’s creative, musical, and surprisingly versatile for a freebie.
Attractor comes in VST3, AU, and AAX Native-Audiosuite formats for both macOS (Intel & Apple Silicon) and Windows users.
3. POORTEC
If you’ve ever lusted after that classic Pultec EQ warmth but couldn’t stomach the price tag, Poortec is a gift.
Analog Obsession managed to capture the essence of the legendary EQP-1A, the tone, the curves, the vibe, and wrap it into a free plugin that sounds way too good to cost nothing.
I love how it delivers that instantly musical, rounded tone the original is famous for, but with just enough Analog Obsession personality to make it its own thing.
The interface looks vintage but works with modern precision. It’s resizable (from 50% to 200%), easy to read, and runs smoothly whether you’re on Mac or Windows. I like that Poortec remembers the window size when duplicated; it’s one of those small workflow touches that just make life easier.
- Low Band
Poortec nails the boost and cut at the same frequency move that gives low end that tight, punchy weight without muddiness.
I often use it on kick drums or bass, boost around 60Hz while cutting slightly at the same point, and it adds that deep, controlled thump that hardware Pultecs are known for. It’s the easiest way to make a mix sound more expensive.
- High Band
The shelving high boost and cut share the same frequency, just like the original, but the response here feels silky and refined. I’ll dial a few dB of boost around 8kHz to open up a vocal or sprinkle some shine on a mix bus, and it never turns harsh. Even when pushed, it has that soft, almost tube-like glow on the top end that instantly flatters any source.
- Trim Pot Drive & Fairchild-Style Amp
Here’s where Poortec adds its own twist. The trim pot (TP) on the bottom right lets you introduce a bit of drive using a Fairchild-style line amp, which adds subtle harmonic richness and edge.
It’s not overly saturated, more like the gentle compression of analog circuits waking up. I love pushing this just enough on guitars or drum busses for that cohesive analog feel.
There’s no oversampling, so if you’re running ultra-high sample rates or slamming the drive hard, you might hear a touch of digital crispness.
So, Poortec is a killer recreation that nails the Pultec sound while adding just the right modern touches. It’s warm, smooth, and easy to use, a perfect go-to for mastering, mix buses, or any track that needs that “hardware hug.”
Poortec comes in VST3, AU, and AAX Native-Audiosuite formats for both macOS (Intel & Apple Silicon) and Windows users.
4. ATONE
There’s something instantly satisfying about ATONE, it’s the kind of plugin that oozes character the moment you insert it on a channel.
Analog Obsession clearly built this as a love letter to old-school Altec gear, and it delivers that unmistakable vintage warmth without the hassle or the hum of real tubes. What I enjoy most is how ATONE encourages you to mix by ear instead of chasing numbers. It’s imperfect in all the right ways, colorful, forgiving, and alive.
The layout is refreshingly simple: EQ up top, compressor in the center, and filters plus input/output controls neatly spaced around. Everything has a logical flow, and the interface itself is fully resizable, scaling cleanly from small laptop screens to 4K setups.
It feels vintage in spirit but modern in usability. Each module also has its own bypass, so you can treat ATONE like a full channel strip or just use it as a tone box, which, honestly, is where I’ve had the most fun with it.
- A-Type EQ
The 3-band inductor EQ may be basic, but it sounds fantastic. You don’t get adjustable frequencies, just gain-only bands, but that limitation actually works in its favor. It’s voiced perfectly for quick tone shaping.
I’ve used it to round off the low mids of vocals, give guitars that silky sparkle, or pull a touch of warmth into dull synths. It’s the kind of EQ that rewards quick moves and instinctive listening.
- 436c-Style Compressor
The compressor section is where ATONE really flexes its vintage charm. Modeled after the Altec 436, it has this soft, bouncy compression that feels organic.
I love it on acoustic guitars and drum busses, it adds cohesion and a subtle “give” that makes everything feel glued together. The AMOUNT knob is genius: it controls both compression depth and makeup gain, so you get a balanced, musical response no matter how hard you hit it.
- Input Drive & Filter Section
The INPUT control feeds directly into the EQ circuit, so driving it pushes the op-amp into a gentle analog-style saturation. This can be clean and smooth or thick and gritty, depending on how far you turn it.
Paired with the HPF (20Hz-600Hz) and LPF (20kHz-500Hz), it gives you excellent control over low-end rumble and top-end harshness before the signal ever hits the compressor.
One of my favorite tricks is using ATONE purely for tone enhancement, bypassing the compressor, pushing the input slightly hot, and letting that soft op-amp saturation add depth and life to vocals or bass. It’s got a warmth that’s hard to fake.
It’s not a “clean” channel strip by any means; ATONE adds color, and that’s the point. If you’re after surgical precision, you might look elsewhere. But for anyone chasing vintage character, it’s a total gem, especially considering it’s completely free.
ATONE comes in VST3, AU, and AAX formats for both macOS (Intel & Apple Silicon) and Windows users.
5. CHANNEV
If there’s one Analog Obsession plugin that feels like a full studio rack packed into a single window, it’s CHANNEV.
I love how it combines everything, mic preamp, EQ, de-esser, compressor, limiter, and even tape saturation, into a single, beautifully analog-sounding channel strip.
It’s basically a full recording chain with that signature AO warmth and just the right amount of vintage glue. What makes CHANNEV stand out for me is how complete it feels; it’s the rare all-in-one plugin that doesn’t compromise on sound quality or control.
Every section has a clear layout, and once you get into the workflow, it’s surprisingly fast. There’s even touchscreen support, which makes tweaking knobs on a tablet or touchscreen laptop genuinely enjoyable.
I also appreciate the thoughtful detail: when you duplicate the plugin, it remembers your preferred size. Small touches like that make it feel pro.
- Mic Preamp & Filters
The preamp section is where the tone journey starts. With 60dB of virtual gain, a PAD, and Phase Invert, it mimics the tactile feel of driving a real mic input.
The pre-EQ filters, Low Shelf, High Shelf, HPF, and LPF, let you sculpt the sound right from the input stage. Pushing the trim screw adds a hint of saturation that’s perfect for vocals, bass, or even synths when you want a bit of old-school bite before compression.
- De-Esser
I really enjoy the De-Esser module here. It gives you both Bell and Soft options, which means you can control how aggressive it is. The “Bell” mode is great when you need precise control on sibilant vocals, while “Soft” smooths things out more naturally on cymbals or bright acoustic guitars. It’s one of those modules that just works, fast, musical, and subtle.
- 4-Band 81-Style EQ
The EQ feels like the soul of the unit, cause it’s modeled after an 81-style British console EQ, but unlike most emulations, this one has fully variable frequency controls, not fixed steps.
The Low and High bands can switch between shelf and bell shapes, while the Mid bands feature a Hi-Q option for surgical tweaks. There’s also a Post-Filter section that mirrors the pre-filters, great for tidying up the low end after heavy EQ moves. I’ve used this EQ across entire mixes, and it always adds that smooth, musical curve you’d expect from a high-end desk.
- Compressor, Limiter & Tape Saturation
The compressor and limiter are inspired by the Neve 2264, but here they’re completely independent, each with its own external side-chain. The compressor is punchy and tight, while the limiter feels transparent and confident.
I love running the limiter gently just to catch peaks and then blending in a bit of the tape saturation module at the end, which adds that final “glue” and warmth that makes everything sound finished. The fixed 2x oversampling keeps CPU usage low but maintains clarity, even with multiple instances running.
Overall, CHANNEV is one of those plugins that could easily be your entire vocal or instrument chain. It’s rich, musical, and incredibly versatile, the kind of tool that makes you want to track, mix, and finish everything inside it. For me, it’s become a secret weapon for fast, analog-style workflows with zero fuss.
CHANNEV comes in VST3, AU, and AAX Native, Audiosuite formats for both macOS (Intel & Apple Silicon) and Windows users.
6. FetCB
Just when I thought I had enough compressors in my arsenal, Analog Obsession goes and drops FetCB, and, well… here I am again.
I told myself, “No more compressors.” But there’s something about a shiny new FET-style plugin that always reels me back in, especially when it’s free.
At first glance, FetCB looks like it’s going for that classic 1176-style vibe, fast, punchy, and full of attitude. But after spending some time with it, I realized it’s not a straight clone. It’s got its own personality, tighter in some spots, smoother in others, kind of like a modern, slightly cleaner cousin of the vintage FET sound.
- Classic FET Speed with a Fresh Feel
The attack can go insanely fast (as low as 20 microseconds), so if you want that hard-knocking snare or an aggressive vocal take, it delivers without flinching.
The release range feels just right too, you can get that classic pumping groove or keep things controlled and transparent. I’ve driven it hard enough to introduce a touch of grit, and honestly, it breaks up beautifully.
- Flexible Controls, Effortless Workflow
The ratio goes from a gentle 1:1 all the way to 20:1, which gives you a ton of range to work with, from subtle levelling to full-on smash mode.
There’s a dedicated threshold (thank you!), sidechain key, mix knob for instant parallel compression, and an output trim that makes gain-staging painless. It’s everything you actually need on one panel, no fluff.
- Punchy, Musical, and Surprisingly Refined
Sonically, FetCB nails that sweet spot between punch and polish. It’s fast enough for transient shaping on drums and percussion, but it also shines on vocals, bass, and guitars.
I even A/B’d it against my go-to UAD 1176 E, and FetCB held up shockingly well, same snap and forwardness, maybe a bit smoother on the top end.
And like all Analog Obsession plugins, FetCB is completely free (unless you want to support the dev on Patreon, which I definitely recommend). For something that costs nothing, it feels premium, both in tone and in design.
If you’re building a mastering or mixing chain filled with AO plugins, FetCB slides right in next to OAQ and CHANNEV beautifully, it’s another solid piece of Analog Obsession’s ever-growing analog-inspired universe.
FetCB is available in VST3, AU, and AAX formats for macOS (Intel & Apple Silicon) and Windows.
7. KolinMB
I’ve always been a sucker for a vintage-inspired limiter/compressor, and KolinMB from Analog Obsession immediately caught my attention.
What’s special about KolinMB is how it takes the classic Collins 26U Vari-MU Tube Limiter vibe and gives it a modern, multiband twist, all for free. I love that you can finally sculpt different frequency ranges independently without losing the character that made the original so legendary.
The interface is intuitive and visually clean, with a resizable window from 50% to 200% that looks fantastic even on a 4K screen. Touchscreen support is a nice touch, and the layout makes it simple to get started immediately. Each band is clearly defined, with all controls logically arranged, so you never feel lost even when juggling three independent bands.
- 3-Band Multiband Control
Each band has its own Mix knob, letting you blend the dry and wet signal for parallel-style processing.
I love using this on drum buses, the low band keeps the kick punchy, the mids bring snare presence forward, and the highs sparkle without harshness. The separation allows me to tighten everything in a mix while keeping that warm, musical tube character.
- External Sidechain & Gain-Compensated Input
Each band features external sidechain capability, and the 40dB gain-compensated input control ensures that pushing the signal doesn’t throw off the balance.
I’ve used this on vocals and guitars, and the dynamic response feels natural, soft transients get leveled subtly, while harder peaks punch through, adding excitement without overcompression.
- Oversampling & Master Section
With 4X oversampling and a flexible master section including Input, Output, and Mix knobs, KolinMB keeps your sound clean even under heavy processing. I particularly like the ability to bypass each band independently or the entire plugin, which is perfect for A/B testing or fine-tuning tonal balance.
Sonically, KolinMB has that tight, crisp punch that’s instantly addictive, it brings drums to life, smooths vocals, and even gives guitars that classic analog warmth. The multiband design makes it feel like you’re running a full console chain in a single plugin, and the free price tag makes it even sweeter.
KolinMB comes in VST3, AU, and AAX formats for both macOS (Intel & Apple Silicon) and Windows users.
8. SPECOMP
I’ve tried a lot of SSL-style compressors over the years, but Specomp got me as it nails that classic S-Type SSL bus compressor vibe, the punch, the glue, the analog warmth, all without costing a dime.
I love how Specomp instantly makes mixes feel cohesive; slap it on a drum bus or full mix, and all the elements click together in a way that’s hard to describe but impossible to ignore.
The interface is clean, simple, and functional. You don’t get lost in endless menus or tiny knobs, everything is right where you want it. I enjoy how intuitive it is like other AO plugins; I could drop it on a mix bus and start hearing results within seconds.
- Analog-Style SSL Compression
The heart of Specomp is its S-Type SSL emulation, which delivers that warm, punchy compression without darkening the signal. I’ve used it on drums, guitars, and even full mixes, and it consistently adds cohesion and clarity. It’s fast enough to catch transients but musical enough to preserve dynamics, which is exactly what I want from a bus compressor.
- Mix of Precision and Musicality
All the basic controls you’d expect from a bus compressor are here, threshold, ratio, attack, release, and output, but the way they interact feels alive and musical.
I particularly like that it encourages experimentation: turn a knob, listen, tweak again. The results are consistently tight yet warm, which is why I’ve found myself reaching for Specomp over some expensive alternatives.
- Oversampling & Smooth Analog Saturation
The optional oversampling helps keep everything clean even under heavier compression, while the plugin itself adds just a touch of analog saturation. It’s subtle but noticeable; it fattens up drums, gives vocals a slight warmth, and makes synths feel more tangible. I honestly think it rivals paid SSL emulations in terms of vibe and usefulness.
Specomp is one of those plugins that makes you stop and appreciate what free software can do. It’s punchy, warm, and highly musical, perfect for mix buses, drum busses, and any place where you want analog-style glue without breaking the bank.
Specomp comes in VST3, AU, and AAX formats for both macOS (Intel & Apple Silicon) and Windows users.
9. SSQ
I’ve always had a soft spot for console-style EQs, and this Analog Obsession SSQ immediately won me over.
What makes SSQ stand out is how it combines classic console vibe with modern workflow conveniences, it’s smooth, musical, and incredibly satisfying to tweak. I love how it gives you that analog warmth without being overly colored, so it’s versatile enough for vocals, drums, or even full mixes.
The interface is clean, resizable from 50% to 200%, and logically laid out. Everything is accessible, and the bottom-right corner handle makes resizing intuitive.
I also appreciate the little usability touches: if you duplicate the plugin, it remembers your preferred size, and saving a default preset ensures every new instance opens exactly the way you like. It’s small details like this that make it enjoyable to work with on any screen.
- 4-Band Precision
Each band offers +/-15dB of gain, with a Brown Knob on the low-frequency band for that smooth, musical character I love. Both the low and high bands feature Bell options, which gives you flexibility to add either subtle shaping or a more focused boost or cut.
I often use it on guitar tracks to add clarity without harshness, it just makes elements sit better in the mix.
- Highpass & Lowpass Filters
The included HPF and LPF allow me to trim rumble and tame excessive highs instantly. It’s particularly handy on full mixes or drum buses when I want to keep everything tight and polished. Combined with the EQ bands, it’s a simple but powerful shaping tool.
- 4x Oversampling & Gain-Compensated Input
The 4x oversampling keeps everything clean, even when pushing the EQ hard. I love that the oversampling status is obvious (turns red with a notification), so there’s no guessing if it’s engaged.
The gain-compensated input drive lets me push signals a bit harder for extra warmth without accidentally overloading the mix, perfect for subtle analog-style saturation.
Overall, this Console EQ is a joy to use. It delivers that classic console sound with modern polish, intuitive workflow, and all the little features that make mixing fast and fun. Whether you’re treating individual tracks or full mixes, it’s become a go-to EQ in my plugin library.
The Console EQ comes in VST3, AU, and AAX Native-Audiosuite formats for both macOS (Intel & Apple Silicon) and Windows users.
10. COMPER
I’ll admit it, I can never say no to a new compressor plugin, and Comper from Analog Obsession immediately piqued my interest.
Comper has the serial compressor design: two compressors in series, each of which can be switched between VCA, FET, or Opto modes. I love that flexibility; it lets me tailor the dynamics exactly how I want, from subtle leveling to full-on punchy character.
The interface is clean and intuitive, with all the essential controls clearly laid out. Ratio, Attack, Release, and Threshold are front and center, so you can start tweaking immediately without hunting through menus.
I also appreciate the 4x oversampling toggle right in the interface (click the AO logo), which keeps things clean when pushing the input harder.
- Serial Compression
This is the core of Comper, since chaining two compressors in series allows for nuanced dynamic control, I often set the first compressor to tame peaks gently and the second for musical shaping. It’s incredibly handy on vocals or acoustic instruments where you want both control and character.
- Internal & External Sidechain
Each compressor supports both internal and external sidechains, giving you creative flexibility.
I’ve used it on drum buses with an external sidechain key, and it keeps the kick punchy while controlling the rest of the kit perfectly. The sidechain design feels fast and responsive without overcomplicating the workflow.
- Coloration & Analog-Style Saturation
Even in a 1:1 ratio, Comper adds pleasing analog saturation when you dial up the input drive. It mimics the harmonic character of vintage transformers, giving guitars, vocals, and synths a touch of warmth and richness that I really enjoy. It’s subtle but noticeable, just enough to fatten things up without muddying the mix.
In practice, I’ve found Comper great for jazz guitars, vocals, and drum buses. It’s not reinventing compression, but it simplifies serial dynamics processing and makes it accessible.
The combination of fast attack, musical release, and harmonic color makes it a plugin I keep coming back to when I want a solid, versatile compressor without fuss.
Comper comes in VST3 and AAX for Windows, and AU, VST3, and AAX for macOS (Intel & Apple Silicon).
11. BusterSE
For those who love a solid bus compressor, BUSTERse from Analog Obsession is worth checking out.
What makes it special is how it blends classic analog vibe with modern flexibility. I liked how the optional Turbo mode pushes the full frequency range while the standard mode focuses on mids, giving me quick tonal control over any mix bus.
The BusterSE interface is clean, hardware-inspired, and intuitive. Attack, Release, Threshold, Ratio, Makeup Gain, and Dry/Wet are all easy to reach, and the sidechain input with HPF adds versatility. The Xformer mode gives subtle transformer-style color, fattening up tracks in a musical way.
- Punchy, Musical Compression
BUSTERse glues mixes together without squashing them. I’ve used it on drum buses and full mixes; it tightens everything up while keeping punch and dynamics alive.
- Simple Yet Versatile
Between the Turbo/Xformer modes, sidechain, and dry/wet blend, I can shape dynamics fast without overcomplicating things. It’s one of those free plugins I reach for constantly because it just works.
Overall, BUSTERse is a fun, effective bus compressor that’s easy to use and sounds great. It’s perfect for tightening drums, adding glue to mixes, or giving a subtle analog vibe.
BUSTERse comes in VST, VST3, and AU formats for both macOS and Windows users.
12. MAXBAX
I’ve always been a fan of Baxandall-style EQs, and MAXBAX from Analog Obsession immediately stood out.
The star of MAXBAX is the fully passive Baxandall design with an extra mid band, giving you that smooth, musical tone shaping without harshness. I love using it when I want gentle boosts or cuts that sit naturally in the mix.
Everything is straightforward, and the LR/MS and Link options make it easy to switch between stereo and mid/side processing. The stepped boosts/cuts (0.5dB increments) let me dial in precise adjustments without overthinking.
- Low, Mid & High Bands
Each band offers a practical range of stepped frequencies. The low band is perfect for subtle bass shaping, the mid band adds clarity, and the high band gives airy sparkle without harshness. I’ve used it on full mixes and individual instruments, and it always feels natural.
- Output Control & Stereo Options
The ±6dB output control lets me balance the signal easily, and LR/MS processing gives flexibility for stereo enhancement or widening. Linking left and right channels ensures smooth, consistent EQ moves when needed.
Overall, MAXBAX is a musical, precise EQ that works well on anything from individual tracks to full mixes. It’s simple, intuitive, and has become a go-to whenever I need clean, classic tone shaping.
MAXBAX comes in VST3, AU, and AAX Native-Audiosuite formats for both macOS (Intel & Apple Silicon) and Windows users.
13. PREDD
Classic mic preamp emulations are always nice and handy, and PREDD from Analog Obsession immediately caught my attention for it.
PREDD is based on the legendary EMI REDD.51 console, giving you that iconic Abbey Road vintage character. I love that I can dial in authentic valve warmth from the comfort of my DAW.
The interface is sleek and follows the REDD.47 layout closely. Mic/DI switch, Voltage Gain, -20dB Pad, 10dB High Boost, Phase Invert, Rumble Filter, Fine Gain, and Output are all laid out intuitively, so I can get the sound I want without hunting through menus. Resizing works perfectly, and everything feels immediate and responsive.
- Classic Abbey Road Tone
PREDD captures that classic tube-driven warmth and musical gain staging. I’ve only just started testing it, but it already gives tracks a rich, vintage vibe, making drums, vocals, and guitars feel more alive.
- Simple but Effective Controls
Everything you need is right there: High Boost, Rumble Filter, Fine Gain, and mic/DI selection let me shape tone quickly. I love using it on raw recordings when I want that subtle vintage magic before EQ or compression.
Overall, PREDD is a fantastic vintage preamp emulation that’s easy to use and sounds incredible. It’s perfect for adding warmth and character to any track, and it’s free!
PREDD comes in AU, VST, and VST3 formats for macOS and Windows users.
14. Room041
I’ve been slowly discovering Analog Obsession, and my last suspect was Room041 and I think it is a gem I wish I’d tried sooner.
I loved that Room041 is a fully algorithmic room reverb with a clean, simple interface but some surprisingly deep controls. It gives me smooth, natural reverb without relying on convolution or modeling a specific hardware unit.
The interface is straightforward and resizable, with Stereo Separation, Pre-Delay, Decay, Dry/Wet, and a preamp section for added drive. I enjoy that it also includes a Post EQ with low and high frequency sweeps (+/-20dB), letting me shape the reverb tail exactly how I want.
- Flexible Reverb Control
Stereo separation can go from mono to full width, Pre-Delay lets me control space and distance, and Decay adjusts the room length naturally. I’ve used it on vocals and guitars, and it adds depth without clouding the mix.
- Preamp & Post EQ
Drive before the reverb adds warmth or grit if I want it, and the Post EQ lets me fine-tune highs and lows. It’s simple, yet surprisingly versatile for shaping the tone of the reverb.
Overall, Room041 is a smooth, musical reverb that’s easy to use, sounds great, and works well on almost any track. It’s a free plugin I keep going back to whenever I want a reliable room vibe.
Room041 comes in AU, VST, and VST3 formats for macOS and Windows users.
Last Words
Analog Obsession’s plugins prove you don’t need big budgets to get vintage, professional sounds. From EQs and compressors to preamps and reverbs, these free tools are versatile, musical, and a joy to use. Grab them, experiment, and let your mixes come alive!
