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Digidesign / Avid Audio Trillium Lane Labs TL Aggro

Digidesign / Avid Audio Trillium Lane Labs TL Aggro

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Page last updated Feb 13, 2026

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Elevate your sound with the Digidesign / Avid Audio Trillium Lane Labs TL Aggro, a compressor plugin that has become an essential tool in any musician's digital arsenal. Crafted for those who demand precision and flexibility, this dynamic processing tool allows you to sculpt your audio with unprecedented clarity and control. TL Aggro is designed to cater to both seasoned audio engineers and ambitious newcomers, offering a balance of power and simplicity that few plugins can match.

The TL Aggro excels in delivering a punchy and transparent compression effect, making it an ideal choice for vocals, drums, and other instruments requiring a tight dynamic range. The interface is intuitive, ensuring users can effortlessly adjust parameters to achieve their desired sound. Whether you're looking to add subtle warmth or intense punch, TL Aggro provides the versatility needed to enhance your audio projects.

Key Features:

Dynamic compression tailored for precise audio sculpting
Ideal for vocals, drums, and various instruments
Intuitive interface for easy parameter adjustments
Compatible with a wide range of digital audio workstations (DAWs)
Provides transparent and punchy compression effects

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Hozier

Singer, Guitarist

Verified via Soundonsound

Used on the organ for "Take Me to Church", stated by mix engineer Rob Kirwan in this March 2015 Sound on Sound interview.

Guitars & keyboards: TL Labs TL Aggro, Avid Trim, Waves Puigtech EQP1A, Eventide H3000, Focusrite Red EQ & Audio Ease Altiverb.

“Below the ‘Kit Plate’ aux track are four organ tracks. The top two were recorded through an amplifier via my 57 and Delta mics, and below that is a distorted organ track, with the Trillium Lane Labs TL Aggro compression plug–in on it and a Pultec EQ. The ‘Organ 3000’ track is probably me putting one of Andrew’s Logic organs through my Eventide H3000. Further down are six guitar tracks without any treatments — the ‘T’ on one of them is a Trim — and below that are the piano tracks, some of which are again heavily edited. Andrew wasn’t as good yet at playing the piano. He’s very good now, though! I got him to do the left hand separately, which are the ‘New Piano’ tracks. I once again had the Focusrite Red EQ plug–in on the piano, and there’s a ‘Piano Verb’ aux track, which also has the Wendy Carlos EMT plate from Altiverb, just with a different pre–delay. In general I like to create a sense of everything coming from the same space, so the Wendy Carlos plate is on many things in this song. There’s more piano below that, again with just Focusrite EQ. In all there’s a lot of piano, it was one of the most important elements of the song.”