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What makes the SAFE Compressor unique is how the user can upload and download custom presets made by other users via Semantic Audio’s server. This nifty feature allows for the SAFE Compressor to have an unlimited number of presets that can be experimented with endlessly. Download the free plugin here: SAFE Compressor. Click an Effects Rack insert’s right arrow, and choose Amplitude and Compression Multiband Compressor. Enable looping on the Transport, and then start playback. The Default preset doesn’t apply any multiband compression, so listen to that first as a point of reference. Load the Broadcast preset, which gives a major boost to the sound.
With a gorgeous interface, this free delay and filter plugin offers 3 fully configurable independent delay bands (Low/Mid/Hi) with complete and accurate control over the frequency width of each band. Each band is split into left and right channels with independent delay time and feedback and there’s a comprehensive filter bank section.
Each band has its own fully featured filter on both left and right channels complete with cutoff and resonance controls. There are a total of six filters and six LFOs. Blue Cat’s Freeware Pack contains some excellent mixing tools for Mac and PC in all major formats. The Chorus is a vintage chorus effect with variable delay, the Flanger sounds great on everything from guitars and drums to vocals, and the Phaser rounds out the modulation effects. Gain Suite contains a series of gain utilities that let you use MIDI automation to control the volume of several channels at the same time. Finally, FreqAnalyst is an excellent spectral analyzer that helps you better understand what’s going on inside your mixes.
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This free limiting plugin has five modules: an RMS compressor, peak limiter, high frequency limiter, clipper and a true peak limiter. Both brickwall and soft limiting are supported and use different timing settings depending on the effect you’re going for.
Mid / side is supported and there’s a multiband mode which is useful for getting more precise control over the limiting of different frequency bands within a track. 4x oversampling is available and you get retro level meters as well as choice of two different GUIs. A mini synthesizer that is controlled by audio that you route into it, this plugin uses three different oscillator waveform modes (pure sine, ring mod sine and phase mod sine) and the idea is that it turns any sound source into a series of dynamically generated basses, bleeps, blips, sweeps or glitches.
Just like VJ software makes graphics respond to the characteristics of incoming audio, Zap does it with synthesized sound. It’s a quick way to beef up beats by adding auto-generated synth elements. A1 TriggerGate for Mac and PC is a rhythmic gate audio processor that can be used to get the popular effect that’s heard a lot in dubstep, house and other electronic styles of music.
There’s a variable onboard step sequencer where each beat consist of four steps, or three in triplet mode, and each step has its own volume fader. Designed to be as simple as possible, the effects sound great. Although highly programmable, the effect also has a randomizer for punching in a whole new bunch of settings instantly. Atom is a filter with a focus on dynamic, tempo-synced modulation. With five different resonant filter types each with three slope settings, you also get two modulators with multiple waveforms that run at rates ranging from 1/128 note to 16 bars. A chaos function randomizes the amplitude of each modulator cycle and you get a lag switch to smooth out the waveform curves.
It also features an different kind of interface, with simple graphics rather than the kind of GUI you might be used to seeing. Advanced transport sync algorithm and support for tempo and time signature automation round out the feature set. This chorus effect uses a phase randomizing filter that avoids any unwanted comb filter effects from the signal. It can simulate up to six additional voices and the pitch and loudness of any of these can be tweaked.
You also get an integrated EQ and a pre-delay section to create modulated and diffuse echo effects. You get undo and redo capabilities, A/B of setups and a preset manager. It comes in VST or AAX formats for Windows and VST, AAX or AU on the Mac, all in 32 or 64-bit versions, and with support for 96kHz sample rates and mono or stereo processing. The Sonalksis FreeG plug-in for Mac and PC is a simple master fader plug-in that can actually be inserted on any channel, not just the master buss. It gives you a physically much larger fader to work with, with finer controls, plus very accurate metering. You get multiple metering ballistics types, peak and RMS level meters, pre and post metering options and a selectable pan law control. There’s also a Fine mode for more sensitive calibration of the master fader and a mono mode for when you are working with mono tracks inside a project.
Span is a realtime FFT audio spectrum analyser that can give you an accurate visual readout of what’s going on in terms of the frequency and amplitude of your audio. It’s highly configurable, letting you specify FFT block sizes and visual slope amongst other things, and supports multichannel analysis or displaying spectrums from two different channels or groups at the same time for comparison.
You also get output metering with adjustable ballistics and metering time, headroom estimation and clipping detection as well as correlation metering. This free plug-in visualizes up to four different audio signals in realtime in one window and helps you identify overlapping frequencies within a mix. It’s a 31-band spectral analyser with multitrack functionality though limited to a sample rate of 44.1kHz. For more features you can upgrade to the full version. By analyzing your signal accurately you can see where problematic areas are occurring in the mix and use EQ to fix them. Software analysis is generally more accurate than relying on your ears alone.
Things like chorders, arpeggiators and other tools that interpret your input are great but they remain virtual until you render them to audio, whereupon you lose editability. This plug-in does things differently by turning live-generated MIDI parts into editable regions on a MIDI track. From there you can work with the parts directly since they are no longer virtual. You insert the plugin at the end of the MIDI effects plugin chain and then use it to freeze the MIDI part, at which point it is rendered down to a MIDI event on the target track. If you work with arpeggiators and the like a lot, it’s brilliant. This vocoder is a digital / analogue hybrid model for Windows that can vocode and mix with two different engines: an FFT-based digital engine or a filter bank analogue version. It works as a VST instrument with a special plug-in to deal with the carrier and modulator components that are required for taking input signal and using it to create the vocoded effect.
You get built-in eight-voice polysynth plus the ability to use recorded audio as the carrier, up to four inputs to use as the modulator and a buffer freezing function. Six band graphic EQ and an effects section with delay, chorus and reverb round out what is a pretty awesome package. Advanced MIDI Gate can be used to easily mute an audio/VSTi track via MIDI and can be used to create the stuttering effects commonly found in trance and psy-trance. The envelope can control a filter instead of a VCA and noise can be added to the signal to make the sound more aggressive. Either the left or right channel can be delayed slightly to fatten the sound and when you stop your sequencer, the plugin disables itself so that you can edit the gated track without having to switch the plugin off.
Although I didn’t get much reaction from our members (thanks alot guys! Where’s the love?) I did find out through the alchemy of modern google analytics that alot of people were coming to my blog just to read about the plugin tutorial.The next plugin tutorial is for the Multiband Compressor. This is a plugin that I use regularly to boost the gain a little and add a little punch to some of my VOs it also has a nice hiss remover that works more on frequances than actual data elimination.Here is a quote from wikipedia about the technical aspects of what Multiband compression is (some of this stuff is pretty technical so either skip it or put your learning caps on to absorb all this audio nerdishness)Multiband (also spelled multi-band) compressors can act differently on different frequency bands. The advantage of multiband compression over full-bandwidth (full-band, or single-band) compression is that changing signal levels in one frequency band (such as from a sporadic low frequency kick drum) don’t cause unneeded audible gain changes or “pumping” in other frequency bands.Multiband compressors work by first splitting the signal through some number of bandpass filters or crossover filters. The frequency ranges or crossover frequencies may be adjustable.
Each split signal then passes through its own compressor and is independently adjustable for threshold, ratio, attack, and release. The signals are then recombined and an additional limiting circuit may be employed to ensure that the combined effects do not create unwanted peak levels.Software plug-ins or DSP emulations of multiband compressors can be complex, with many bands, and require corresponding computing power.Multiband compressors are primarily an audio mastering tool, but their inclusion in digital audio workstation plug-in sets is increasing their use among mix engineers. Hardware multiband compressors are also commonly used in the on-air signal chain of a radio station, either AM or FM, in order to increase the station’s apparent loudness without fear of overmodulation. Having a louder sound is often considered an advantage in commercial competition.
However, adjusting a multiband output compressor of a radio station also requires some artistic sense of style, plenty of time and a good pair of ears. This is because the constantly changing spectral balance between audio bands may have an equalizing effect on the output, by dynamically modifying the on-air frequency response. A further development of this approach is programmable radio output processing, where the parameters of the multiband compressor automatically change between different settings according to the current programme block style or the time of day. ”end of quoteHere is where you can find the plugin in adobe audition 3: Effects Amplitude and CompressionMultiband Compressoronce you have selected your audio file and clicked decided to use the multiband compressor on it you will get this prompt screen:now as you can see there are several settings like:. Broadcast. Classical Master.
De esser. Drums (for instrument audio compression). Enhance Highs. Enhance Lows. Full Reset. etc.Now I highly recommend messing around with this plugin. I have a few saved settings that compliment my voice and I also generally use it to see if there is any noticeable ambient sound.
I’ve also had some success with the Hiss Reduction setting.Also please dont go nuts with this ask your clients if they want the voice over files raw or with compression show them the difference or let them add it on their end that way you kept things clean you judge what your client needs and prefers.That’s it for now folks till later!
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