How to choose plugins and virtual instruments without drowning in options

You open your DAW “just to sketch an idea” and one hour later you have:

• 15 different compressors on the same track;
• 8 synths open and no finished melody;
• a plugin browser full of names you don’t even recognise.

Sounds familiar?

Today the main problem is not getting plugins, it’s making choices. If you spend more time comparing VSTs than actually recording, you need a framework.

In this guide we’ll look at how to:

• understand which plugins and virtual instruments you really need;
• avoid buying duplicates just because they’re on sale;
• build a solid core chain for writing, recording and mixing;
• organise your plugin and library chaos so it actually helps you make music.

For the hardware side that still matters a lot (interfaces, mics, monitors), you can browse the Recording categories on Muviber:

• audio interfaces
• studio microphones
• studio monitors

1. Start from your workflow, not from the plugin store

Before asking “which plugin should I buy?”, ask:

What do I actually do 70–80% of the time when I open my DAW?

A few examples:

• you’re a guitarist recording ideas and doing small mixes;
• you produce beats and electronic tracks;
• you work on rock/metal with real or virtual drums;
• you compose scores / cinematic music with many libraries.

Each profile has very different needs.

A simple exercise:

1. Write down the 3 things you do most often (e.g. “record vocals and guitar”, “program drums”, “mix my own songs”).
2. For each, list which virtual instruments and which effects are essential.

That list becomes your baseline requirement.

2. Less is more: build a core chain for each task

Instead of owning 40 “just in case” plugins, build a few reliable go‑to chains.

2.1 Core chain for mixing

For most mixes, you only need:

• 1 good EQ;
• 1 general‑purpose compressor (channel/1176‑style, etc.);
• 1 slower / bus compressor;
• 1 versatile reverb;
• 1 delay;
• 1 saturation plugin.

Pick your favourites for each category and commit to them for a while before hunting for more.

2.2 Core chain for writing and arranging

For writing you actually need fewer plugins, but chosen carefully:

• 1 solid piano/keys instrument;
• 1–2 workhorse synths that cover 90% of your sounds;
• 1 go‑to drum/beat tool (drum machine, sampler or rompler);
• any key acoustic instruments (strings, brass, etc.) if that’s your area.

If you’re switching instrument every 30 seconds, the problem isn’t the synth – it’s option overload.

3. Plugin categories: what you really need (and what can wait)

3.1 Core effects

• EQ – shaping tone, carving space.
• Compressors – controlling dynamics, adding punch.
• Reverb & delay – depth and space.
• Saturation / distortion – colour, harmonics, glue.

With one or two solid options in each category, you can already mix very serious projects.

3.2 Utility plugins that quietly save your mix

• tuners (for real instruments);
• spectrum analysers;
• simple gain/trim plugins;
• metering tools (LUFS, phase, stereo).

They’re not glamorous, but they help you hear and measure better.

3.3 Virtual instruments: keys, synths, drums, libraries

This is where people often drown.

For most producers, realistic priorities are:

1. One great piano/keys.
2. 1–2 versatile synths.
3. One solid drums/percussion solution for your genre.
4. Only then: huge, very specific libraries (massive orchestral sets, niche sound design, etc.).

4. How to evaluate a plugin: concrete criteria

Before you get hypnotised by pretty GUIs and 3D graphs, check these.

4.1 Sound and usability

• Does it actually sound better than your stock options in a blind test?
• Can you get results quickly?
• Does the interface invite you to experiment or slow you down?

4.2 Stability, CPU and compatibility

• stable in long sessions;
• reasonable CPU usage with several instances;
• compatible with your DAW and OS.

4.3 Licensing, updates, support

• clear licensing (perpetual, subscription, iLok, etc.);
• regular updates;
• decent support when something breaks.

A plugin that sounds great but crashes or is a licensing nightmare doesn’t really make your life easier.

5. Buying strategy: from stock plugins to “my ideal setup”

5.1 Start with your DAW’s stock plugins

Most modern DAWs ship with EQs, compressors, reverbs and delays that are perfectly usable.

Use them as a baseline to understand what you genuinely miss.

5.2 Identify real gaps

Examples:

• you need a better reverb for ambient/pop mixes;
• you crave a character compressor your DAW doesn’t have;
• you’re doing film scoring and need convincing strings.

Buy plugins to solve specific problems, not just because they’re discounted.

5.3 Wait for the right time

Many brands run regular sales (Black Friday, holidays, anniversaries). You don’t need everything on day one:

• build a curated wishlist;
• set a yearly budget for audio software.

6. Organising plugins and libraries so they help you

Even the best selection becomes useless if it’s chaos.

6.1 Use categories and favourites in your DAW

• create sensible folders/categories (EQ, dynamics, reverb, delay, saturation, utility…);
• add your most used plugins to the favourites list;
• hide or move rarely used plugins into a separate folder.

6.2 Templates and ready‑made chains

• create session templates with minimal, pre‑loaded plugin chains;
• save channel strip presets for vocals, guitars, buses, etc.

Fewer clicks, fewer decisions, more music.

7. Mistakes to avoid (that most of us have made)

1. Buying plugins mid‑mix because “it still doesn’t sound right”. Often it’s an arrangement, gain staging or listening issue.
2. Owning five or six near‑identical plugins (bus compressors, tape sims, etc.) and never truly learning any of them.
3. Ignoring system requirements, disk space and library backup.
4. Using pirated plugins: beyond ethics/legal issues, they increase the risk of crashes, incompatibility and lost work.

The goal isn’t to have “the biggest collection”, but a lean setup that helps you create and finish tracks.

FAQ – Plugins and virtual instruments

Are DAW stock plugins really good enough?

For learning and for many real‑world projects, yes. Stock plugins are often transparent and efficient. Third‑party tools become important when you have specific needs for tone, workflow or quality.

Is it better to buy single plugins or bundles?

It depends. Bundles make sense if you’ll actually use most of the tools and the price is right. If you only need one very specific plugin, buying it alone is usually smarter.

How many synths do I really need?

Fewer than you think. With 1–2 workhorse synths you can cover the vast majority of sounds. The rest is creative exploration, not necessity.

Should I buy plugins “for the future”, for when I’m better?

It’s usually better to buy when you have a real problem to solve. A plugin sitting on your drive doesn’t make you better; practice and finished tracks do.

How do I avoid spending hours scrolling through presets?

Limit the number of instruments, create a short list of favourite presets, and set a time limit (e.g. 10 minutes) for sound hunting before you commit and hit record.