Fabfilter Pro vs Soundtoys 5 Review

Today, we’ll go deeper and discuss FabFilter vs Soundtoys 5 review in more detail. Over the years, I’ve built a collection of plugins that I rely on for almost every project. But today, I would like to talk about two versatile bundles worth exploring for every producer and engineer: the Soundtoys and the FabFilter bundles. 

I am an absolute nerd about the latest offerings from brands like Waves, Izotope, FabFilter, etc. can’t help but explore the latest technology and innovations that the audio plugins market is bringing, and it’s undeniably good!

We will review these two today. The Soundtoys and the FabFilter bundles are like the yin and yang of my plugin collection. Soundtoys 5 is capable of adding a lot of creativity and girt and can add that analog-style character you can’t fake. Then there’s FabFilter, which feels like the opposite in the best way. It is clean, surgical, and intuitive, and it’s the kind of precision you need when you’re fine-tuning a mix. 

Soundtoys 5 and the FabFilter Pro Bundle have plugins that you can add to your arsenal and keep for years to come. These are not just plugins; they are “real” skills that can help you advance your workflow. I have found my comfort in both, but if I was starting and had to choose one, I would need a comprehensive guide to help me.

That is why I am crafting this article. So, I will break them down and share how I use them in my projects so you can make a call for yourself and make the best choice.

Features

Category	FabFilter Plugin(s)	Soundtoys Plugin(s)	Description and Comparison
Equalization	Pro-Q 3 (Replaced by Pro-Q 4)	Sie-Q	– Pro-Q 3: Surgical, transparent EQ with dynamic capabilities and unmatched interface. – Sie-Q: Analog-style EQ with smooth highs and vintage character for tonal shaping.
Compression	Pro-C 2	Devil-Loc, Devil-Loc Deluxe	– Pro-C 2: Versatile compressor with precision sidechaining and visual feedback. – Devil-Loc: Aggressive, character-heavy compression, ideal for drums and punchy mixes.
Reverb	Pro-R	Little Plate, SuperPlate	– Pro-R: Clean, natural reverb with Decay Rate EQ for shaping tails. – Soundtoys: Analog-style lushness; SuperPlate focuses on plate character, while Little Plate is quick and easy.
Delay	Timeless 3	EchoBoy, PrimalTap	– Timeless 3: Flexible tape delay with modulation and pristine quality. – EchoBoy: Classic delay with rich, warm tones. – PrimalTap: Retro delay for creative looping effects.
Saturation/Distortion	Saturn 2	Decapitator, Radiator	– Saturn 2: Multiband distortion/saturation with modulation. – Decapitator: Hardware-modeled saturation for warmth and grit. – Radiator: Adds tube-style analog warmth.
Stereo Effects	–	MicroShift, Little MicroShift	– MicroShift: Studio trick for widening vocals with depth and space. – FabFilter lacks a direct stereo-widening plugin, leaving Soundtoys ahead here for quick spatial effects.
Modulation	–	PhaseMistress, Tremolator	– PhaseMistress: Rich analog phasing with tempo-locked options. – Tremolator: Guitar-style tremolo with rhythmic chopping. FabFilter doesn’t focus on modulation tools.
Filtering	Volcano 3, Simplon, Micro	FilterFreak	– Volcano 3: Smooth vintage filters with modulation. – FilterFreak: Analog-style sweeping filters with rhythmic options. – Simplon/Micro: Basic filters, less character-rich.
Multiband Tools	Pro-MB		– Pro-MB: Precision multiband compressor/expander for dynamic control. – Soundtoys does not offer a direct multiband compression tool.
De-Essing	Pro-DS		– Pro-DS: Transparent de-essing for taming vocal sibilance. – Soundtoys doesn’t provide a specific de-esser, giving FabFilter the edge in vocal processing.
Creative FX	Saturn 2, Volcano 3	Crystallizer, PanMan	– Crystallizer: Granular reverse echo for wild effects. – PanMan: Rhythmic auto-panning. – Saturn 2 and Volcano 3 are versatile but focus more on filtering and distortion.
Multi-Effect Rack	–	Effect Rack	– Effect Rack: Combines Soundtoys plugins for flexible chaining. – FabFilter doesn’t offer a comparable multi-effect platform.

Sound and Character

So, the Soundtoys 5 bundle has 22 plugins and is priced at about $499. FabFilter bundle, on the other hand, is priced at $969, which is almost double the price, and offers a total of 14 plugins.

The most characteristic difference between these bundles is that FabFilter plugins are designed to be highly transparent and clean, offering a blank canvas for you to shape your sound. Largely, they don’t come with much inherent color or character baked in. Even if there is color, they leave it up to you to mix it as per your needs. They provide the tools and flexibility to dial in exactly the tone or vibe you’re after.

I use them in (literally) every session because of how versatile and precise they are for mixing and mastering tasks where neutrality and accuracy are essential. I would call these the plugins for the “mix engineer.”

On the flip side, Soundtoys plugins are for the “music producer” in you, giving you a lot of personality. They offer pretty colorful plugins full of character as they emulate the quirks, imperfections, and all the advantages and disadvantages of the vintage analog hardware they emulate. This makes them the go-to tools for adding authentic warmth, grit, and vibe to mixes.

For example, Decapitator doesn’t just saturate. It imparts a distinct analog punch that instantly transforms dull sounds. EchoBoy doesn’t just delay and adds a lush, tape-inspired depth that feels alive. Even tools like Radiator and Little AlterBoy inject an unmistakable analog charm or experimental edge.

In practice, I find myself reaching for these bundles at different stages of the production process. If I need to clean up a muddy mix, surgically carve out space for every element, or master a track for streaming platforms, FabFilter is my first choice. It’s like a reliable toolbox that never lets you down.

Soundtoys is my way whenever I want to add some depth to vocals, grit to a bassline, a surreal twist to a synth, or simply make something pop.

I don’t see a winner in this comparison, as both bundles excel at different purposes. So, the article will focus on explaining their strengths and how they complement each other so that you can understand which way to go for your needs. In short, FabFilter provides clarity, while Soundtoys provides character.

Features and Interface

Now, I will take you through my workflow and show how and when I use each of these plugins. I will only discuss the most important and useful plugins (from my experience) and will try to provide case studies for them.

I am not exaggerating when I say that Pro-Q3 (Now Q4) and Pro-C2 by FabFilter are the plugins I use most in every single session. So, whenever I mix vocals, I start with ProQ3 for surgical EQ because it offers very precise bands with good frequency. I can use a lot of them. Its piano display and spectrum analyzer help me figure out the exact frequencies and notes I want to cut or boost.

The plugin also has many advanced features, like the EQ Match tool that you can pull up in your mastering sessions to mix using reference tracks and quickly align the tonal balance of one track to another, saving hours of manual tweaking. I also love the flexibility of the phase modes; the Natural Phase is my go-to for transparency, while the Linear Phase is a must for mastering.

Next, Pro-C 2, another one of my favorites, comes with multiple compression modes. It’s set to ‘Clean’ by default, which I absolutely love for its “color-free” sound, but other modes are also quite useful. For instance, the Vocal mode shines when I’m working on vocals, offering a smooth and transparent response that enhances clarity without sounding squashed. The Bus mode is perfect for group tracks like drums or backing vocals, where subtle glue and punch are essential.

When I need aggressive compression, I switch to the Pumping mode for dynamic, rhythmic effects, which is especially useful in dance and electronic music. The real magic of Pro-C 2 lies in its visual interface. The real-time gain reduction meter and envelope display make it intuitive to set attack, release, and threshold parameters.

It’s so versatile that it can go from transparent to aggressive or over the top in no time.

Dynamic processing doesn’t just stop with the Pro-C2. FabFilter has a multiband compressor, the Pro-MB, a gate (Pro-G), and a limiter (Pro-L2), and believe me, all three of these plugins are both high utility and quality. Pro-MB is one of the most versatile and intuitive multiband compressors I have used. I have been using it for the last six years.

There have been so many new multiband dynamic processors in the market, but I never felt the need to replace this, as it makes you comfortable with its workflow and deep features. I also love its colorful interface, just because of the aesthetic.

Next, I will talk about Saturn, which is a multiband saturation plugin that you can use to add warmth, color, and character to your mixes. Its ability to apply different types of distortion across multiple frequency bands makes it highly versatile.

For example, I often use it to add gentle tube warmth to the mids on a vocal track while applying heavier tape saturation to the low end of a bassline. This flexibility allows me to craft textures that feel rich and organic.

What sets Saturn 2 apart is its modulation section, which enables creative movement in the saturation. In one session, I used the envelope follower to create a rhythmic saturation effect on a synth pad, adding life and depth to an otherwise static sound. Whether I’m enhancing harmonic richness in a mix or creating experimental sound design, Saturn 2 always delivers.

Saturn 2 is the perfect example of a “jack of all trades and master of some,” as it is the master of subtle multi-band saturation for mixing but can also be used as an effects plugin for creative distortion sounds.

It can be both transparent and colorful. Moreover, when it comes to functionality, no other multiband compressors come even close to the features it offers, like setting saturation modes, multi-band workflow, dynamic adjustments, a ‘linear phase’ button, modulations, and, let’s not forget, its presets.

Regarding harmonic effects, I am a huge Decapitator fanboy for its ability to emulate analog saturation with such depth and flexibility, take your tracks to the next level, and add excitement and rush to them.

It has a Drive knob, which allows you to dial in anything from subtle analog warmth to aggressive, gnarly distortion. And if I really want to push things over the top, the Punish button is the one I go with. With a 20 dB boost into the saturation circuit, it turns even the cleanest signal into something raw, powerful, and bursting with energy.

I think I like it so much because of how musical it feels to use. Its Low Cut and Thump controls are solid for shaping the low end without creating a muddy mess. For instance, when working on a kick drum, I can roll off unwanted sub-frequencies and then engage Thump to add that tape-like low-end bump. It’s subtle but incredibly effective in making the kick sit just right in the mix.

The Tone knob, which shifts the saturation towards a darker or brighter sound, is another favorite. I use it all the time to sculpt everything from punchy drums to silky smooth guitars. It’s amazing how much tonal shaping you can do before even hitting the analog circuit.

Each of the 5 saturation styles offers something unique, and I’ve found myself gravitating towards specific ones depending on the track. Style A is my go-to for a smooth, vintage vibe and is perfect for overheads or acoustic guitars when I want warmth without too much grit. Style E, with its bright sheen and low-end presence, has been a lifesaver for giving kicks and snares more punch.

And when I want something bold and upfront, Style N brings that Neve-inspired midrange focus that’s amazing for guitars and drums. For really extreme settings, Styles T and P, modeled on the Culture Vulture unit, add a distinct bite and energy that’s great for creative sound design or percussive elements.

Further, Little AlterBoy has been a staple in my workflow for years, especially regarding vocal processing, and it has always inspired me to get out of dull sessions. Whether I’m pitching a vocal up for a playful pop track or down for a moody, dark vibe, it offers unmatched simplicity and effectiveness.

One memorable session involved using Little AlterBoy to create a robotic vocal effect for a hook, which added a futuristic edge to the track. The formant-shifting feature is particularly useful for creating unique vocal textures and layering harmonies that stand out.

Another creative use I’ve found is automating the pitch and formant knobs to create glitchy, dynamic vocal effects that grab attention in electronic and experimental music.

Then, there’s Tremolator, which is another of my go-to from the SoundToys bundle for rhythmic modulation effects, especially when working with guitars, keys, or pads. Its ability to sync to the project tempo makes it easy to create rhythmic pulsing or choppy stutters. For instance, in one session, I used a Tremolator on a clean electric guitar track to add a syncopated tremolo effect that brought an entirely new groove to the arrangement.

EchoBoy is my usual click when it comes to delay effects, and it’s hard to imagine working on a project without it. What makes EchoBoy truly special is its versatility. With 4 core modes: Single Echo, Dual Echo, Ping Pong, and Rhythmic Echo, it covers everything from subtle slapbacks to intricate rhythmic textures.

Its ‘Style Editor’ lets you customize the tone and shape of your delay. Whether I’m saturating the feedback for a warm analog feel or tweaking the EQ to make the delay sit perfectly in a mix, EchoBoy always delivers.

One of my favorite ways to use EchoBoy is on vocals. For example, in a recent session, I used the Rhythmic Echo mode to create a cascading delay effect on a vocal hook. It added movement and depth, turning a simple line into an ear-catching element. On guitars, the analog-style delays provide a lush, tape-inspired warmth that feels alive.

The plugin’s presets are also a huge time-saver. Whether I’m working on vocals, drums, or synths, there’s always a preset that serves as the perfect starting point, ready to be tweaked for the track.

There’s just so much to talk about when PanMan is one of the most fun and effective plugins for introducing movement and life to a mix. It’s essentially a rhythmic auto-panner, but it goes far beyond just simple left-right movement. The ability to sync the panning to the tempo of the track means you can create rhythmic patterns that perfectly match your song’s groove.

My favorite way to use PanMan is on percussion, particularly hi-hats. By setting a rhythmic shape and adjusting the panning width, I can make the hi-hats bounce between the speakers in time, giving the mix a dynamic, spacious feel.

Similarly, I love using FilterFreak and PhaseMistress for phasing and filter effects and creating more movements in my sound(s).

Performance

Compatibility and CPU Use

Here’s a breakdown of how Soundtoys 5 and the FabFilter Pro Bundle stack up in terms of compatibility, formats, and system requirements.

Feature	Soundtoys 5	FabFilter Pro Bundle	Comparison
Operating Systems	– macOS 10.12 or later – Windows 7 or later	– macOS 10.13 or higher – Windows Vista, 7, 8, 10, or 11	Both support macOS and Windows, but FabFilter covers a broader range of Windows versions, including Vista.
Processor Compatibility	– Apple Silicon and Intel	– Apple Silicon and Intel	Both bundles are fully compatible with Apple Silicon and Intel processors.
Plugin Formats	– AAX Native/AudioSuite – VST 2/3 – Audio Units (AU)	– AAX – VST 2/3 – CLAP – Audio Units (AU)	FabFilter supports CLAP in addition to the standard formats, offering more flexibility for modern hosts.
Sample Rate Support	– 44.1 kHz to 192 kHz	– High-quality processing supports all typical sample rates	Both bundles support professional-grade sample rates up to 192 kHz.
System Requirements	– Internet connection required for activation	– No constant internet connection is required	Soundtoys requires the internet for activation, whereas FabFilter plugins can be activated offline after the initial download.
Host Compatibility	– Pro Tools, Live, Cubase, Nuendo, Logic, Studio One, Reaper, Bitwig	– Any VST 2/3, AU, CLAP, or AAX-compatible host – Pro Tools included	Both are compatible with most major DAWs. FabFilter supports a slightly broader range due to its additional formats.
64-bit Support	– 64-bit only	– 64-bit plugins only	Both bundles require a 64-bit system, ensuring compatibility with modern DAWs.
File Size	– Compact installation size, typically under 200 MB	– macOS: 237 MB – Windows: 80 MB	FabFilter has a slightly larger footprint, especially on macOS, but both are manageable for most systems.

Final Thoughts: Fabfilter vs Soundtoys 5

I have stressed enough the thought about the FabFilter bundle being more oriented toward a precise and clean sound-shaping and mixing experience, while the Soundtoys bundle is more about sound design and creative effects. Both are complementary rather than competitive and have found their deserved places in my workflow over the years.

FabFilter gives me the confidence to tackle even the most complex mixes with its clean and efficient design, while Soundtoys inspires me to take risks, experiment, and push boundaries in my productions.

If you have to choose between one, I would suggest you make a decision based on your priority and budget at this point in time. The good part is that FabFilter is more expensive but comes with a free trial, so you can try it for yourself. Another silver lining is that there’s a lot of content on YouTube and other media where you can monitor the sound and workflow of Soundtoys, as it’s quite a popular bundle.

Ultimately, the decision between these bundles isn’t about which one is “better” but about identifying what your workflow needs. If precision and clarity are your priorities, FabFilter might be the better starting point. If you’re drawn to creativity and character, Soundtoys should be your first pick. That said, combining the strengths of both is where the magic truly happens.