Free Vst That Creates Room Space

 admin

Sometimes(very often!) we need to add effects on our voice recording. To make it sound better, to make it sound thicker, or just to maker it sound incredible!
For widening/thickening, or making choir like voices, you can use : chorus, voice multiplier, voice doubler, stereo wideners.
For radical changes or special FX, you can use harmonizer / pitch changing, genre changer, pitch correction / autotune.

Here’s a top 5 of free VST effects for changing the voice :

Unlike conventional algorithmic reverbs, Dreamscape does not need separate plate, hall, and room algorithms. Instead it features a comprehensive yet intuitive parameter set that allows you to easily recreate any given reverb characteristic, leaving you free to create lush smooth vocal reverbs, convincing room simulations, almost infinite reverb. MVerb is a free, studio quality, open-source reverb vst plugin. Its release is intended to provide a practical demonstration of Dattorro’s figure-of-eight reverb structure and provide the open source community with a high quality reverb. U-he Protoverb – Windows / Mac A natural sounding reverb based on the concept of a room simulator. VST VST3 AAX x86 x64 Outer Space is a faithful emulation plugin of a famous vintage tape echo made in the early seventies. As the original unit, Outer Space features a tape echo section with three playback heads and a spring reverb tank.

Free Vst That Creates Room Space

1) Azurite multi voice chorus VST

The Free version has 15 sounds while the Pro version has 34 sounds. Features: Free version: 15 sounds / 135 MB of samples. Pro version: 34 sounds / 338 MB of samples. Highpass/Lowpass filter. Amplitude range controls. 3 voice modes: polyphonic, monophonic, and legato. 64-bit VST plugin instrument for Windows 8.1/10. For this reason, we have created the free VST directory to help music producers find the right tools more quickly. The acronym VST stands for Virtual Studio Technology. Introduced by Steinberg in 1996, the Virtual Studio Technology and VST plugins made a massive impact on the way we produce music today. “OrilRiver is a free algorithmic stereo reverb that can rival the quality of commercial reverbs. With this plugin it is possible to simulate the reverberation of a small room and great hall. OrilRiver has an intuitive interface thanks to which the user can quickly adjust the desired reverb sound. It depends on the VST Host. DAWs like Reaper does very well at supporting both 32 and 64bit VST’s. Also, a side note: Please consider addressing people with respect. It is of no benefit to be purposely offending people. This article was made with good intentions – to enlighten. There’s really no room or invitations for insults to be.

This great chorus can work on many type of sources : guitar, voice, etc.
It works nicely for voice, it’s not too hard/harsh and does a good job on mono inputs for spreading voices and give a stereo effect.

Free Vst That Creates Room Spaces

information & download @ http://distorqueaudio.com/plugins/azurite.html

Dry voice :
https://blog.wavosaur.com/wp-content/uploads/2014/03/Katherine-Ellis-dry.mp3

Spaces

Voice with chorus!
https://blog.wavosaur.com/wp-content/uploads/2014/03/Katherine-Ellis-chorus.mp3

2) ADT – Artificial Double Tracking

This VST has no GUI

When you can’t record two takes for doubling your voice, you can gor for the artificial double tracking technic! The Beatles did it, and now you can too.
Voice doubling ahs never been so easy.

Download here : http://www.vacuumsound.de/plugins.html

3) Emonizer Micro Pitch Shifter effect

Emonizer VST

This free VST effect is intended for thickening, it’s a “one trick pony”, it’s in fact a micro pitch shifter, that add detuned voices, it creates a wider sound. Works also for other sounds than voice!

download it now ! => http://music.service-1.de/html/wok_emonizer_vst_micro_pitch.html

4) g200kg KeroVee & roVee

Here we go now for a more radical effect !
With this one you can change the nature/type/genre of the voice, make it from female to male, or from female to male. KeroVee is a pitch correction plugin, it can also do the “autotune” effect.

Information and free download @ http://www.g200kg.com/en/software/kerovee.html

Normal dry voice
https://blog.wavosaur.com/wp-content/uploads/2014/03/ultra-nate-normal.mp3

Maxi chorused multiplied choir-i-fied voice !
https://blog.wavosaur.com/wp-content/uploads/2014/03/Ultra-Nate-multiplied.mp3

female voice
https://blog.wavosaur.com/wp-content/uploads/2014/03/simone-normal.mp3

from female to male ! genre changing
https://blog.wavosaur.com/wp-content/uploads/2014/03/simone-female-to-male.mp3

Maxi super chorus : voice multiplier !
https://blog.wavosaur.com/wp-content/uploads/2014/03/Simone-voice-multiplier.mp3

5) ag-works chorus ch-2

Chorus CH-2 VST

Here, at Wavosaur, we love the monstachorus VST by Betabugs, but i thought the Chorus CH-2 is lesser known, and deserve some exposure. It’s like having 4 independant chorus you can tweak in parallel.

download for free @ http://ag-works.net/plugins.ch2.htm

The most common problem we see at LANDR is a lack of headroom.

Ask any mastering engineer and they’ll say the same thing: If a mix comes in without headroom, there’s less room left for improvement.

Everyone knows you need a good mix and good master for your music to standout these days.

Keeping headroom in mind throughout your process is the best way to achieve the right mix and get the best master.

The two crucial qualities of a great mix are dynamics and headroom. A dynamic mix has lots of variation between the loud and quiet parts. The energy changes over time and keeps the mix interesting.

Making sure you optimize your headroom at every stage of your mix is the best way to avoid compromising those all-important dynamics.

Here’s how it works. And more importantly, Here’s how to do it right.

What Is Headroom?

Headroom is the available space in dB (decibels) between your loudest peak level (transients) and 0 dBFS (decibels full scale).

It’s a buffer you leave unused. Think of headroom as your ‘safety zone’.


Remember! Headroom is the space between your highest peaks (transients) and 0 dB, and NOT between the average level (RMS) of your track and 0 dB (that will still clip). Many people get this confused!

Leaving headroom is crucial. It helps you:

  • Prevent your mix from clipping and distorting.
  • Leaves mastering the space to work its magic.

It’s also the best way to avoid getting this message in LANDR:

Here’s an example of a track without headroom. The transient peaks are clipping!

What Went Wrong?

Mixes usually lack headroom because:

  • It was mixed hot (you’re cranking the level too close to 0 dB on your meter)
  • Plugins were used on the master bus for the sake of loudness (usually a limiter and/or compressor)

These kinds of levels leave no room for mastering. The output of a track at this volume will cause clipping and distortion.

If you’re looking for loudness – LANDR has got you covered. No need to add plugins on your master bus for the sake of loudness.

That being said, if you like using a particular limiter, compressor, EQ or other plugin on your master output, for it’s colouring or glueing effects for example—go for it! Just keep that headroom in mind.

Here’s 7 Tips to Help You Achieve Headroom in Your Mix

  1. Focus on the dominant feature of your mix first
  2. Use Your Eyes AND Ears
  3. Think before you automate
  4. Louder Doesn’t Always Equal Better
  5. Work in 24 Bit
  6. Control your dynamics
  7. Don’t cheat

1. Focus on the dominant feature of your mix first

Decide ahead of time which elements of your mix will be front and center in terms of presence. Then integrate the other tracks underneath.

Try looping the loudest section and mix it first (often the choruses). Then move to the less intense sections (verses) and finally the lowest (intros, outros).


2. Use Your Eyes AND Ears

Keep an eye on your master fader. The clipping point in a DAW is 0 (zero) dBFS. It’s best to keep your peaks a few dB below 0 dBFS. Aim for around -6 dBFS – it’s nice and safe.

Here’s a snapshot in time of a master channel with great headroom.

To achieve good headroom, watch for two things:

  • The average level (RMS) on your mastermeter should look like the one above.
  • Throughout your track, nothing (including transients) should go past -6 dBFS

Above is a healthy, good looking wave shape: We call this the ‘fishbone’—the opposite of the ‘sausage’ (a straight block). The transients and dynamics are preserved.

Some production styles (types of electronic music production for example) can involve sound sources and compression techniques that lead to more block-like waveforms, which is totally cool. As long as everything you do is for the feel of your mix—NOT the overall loudness.

NOT SO FAST: Some of you cheat your way to a -6 dBFS. If your soundwave looks like a sausage, NEVER bring it down using a limiter or by normalizing. You might think you created headroom because your peak level is at -6dBFS, but it’s compressed. That’s cheating and it won’t sound good in the end.

3. Think before you automate

A classic way to automate is known as ‘riding your faders’ – often used for vocals and other instruments to get smooth and controlled levels throughout the song.

Automating volume and effects is a flexible and powerful tool. But jumping into it too early in the mix process can paint you into a corner if you’re not careful (i.e. you could eat up all your headroom early on).

Free Vst That Creates Room Space Shuttle

Start by adjusting your individual fader levels to get a nice overall balance. Then use automation as a tool to make things balanced later on.

Free Vst That Creates Room Space Heater

4. Louder Doesn’t Always Equal Better

Everyone does it: we get excited because loud sounds good, so we crank up faders unnecessarily. However, ultimate loudness shouldn’t be your focus in mixing.

“But I LIKE IT LOUD!!!”. No sweat – just turn up the level of your monitors or headphones until it feels right. ;)
Be careful not to blast your ears for extended periods of time. Mixing at loud levels can misrepresent how your mix really sounds. Feel free to crank it up now and then, however, it’s generally recommended to mix at more conservative levels. Aim for a level where you can have a casual conversation with a friend without having to shout over your mix.

5. Work in 24 Bit

When digital audio began to take over from analog a lot of the practices engineers were used to got carried over. Including the idea that you had to record as loud as cleanly possible to keep your signal above the noise floor.

This was definitely a concern when recording to tape. Even a bunch of tracks in 16-bit digital can start to gather an audible noise floor.

But 24-bit solves all of that. The noise floor is so low in 24-bit that you can give yourself a lot of room (15-20 dB) between your peaks and 0 dBFS without worrying about noise or loss of resolution.

6. Control your dynamics

Always manage your transient-heavy elements in your mix. Dynamics are good, but apply some gentle, effective compression to keep them under control. It will help avoid hard limiting effects of the mastering process when mastering at HIGH intensity.

Add small amounts of compression at different stages in the mixing process, rather than adding a lot at the end.

7. Don’t cheat

Have headroom in mind when you start your mix and keep your tracks at safe levels. If you’re finding yourself trying to recover headroom at the end, fine tune your individual track levels rather than reaching for your master fader and pulling it down.
Don’t cheat your way to -6 dBFS. If you’ve used plugins for the sake of loudness and your waveform is big, block-like and peaking at or near 0 dBFS – don’t take a shortcut by dragging your master fader down. You might think you created headroom because your peak level is now lower, but you’ve only squished your mix. For headroom to be beneficial to your mix, it needs to be arrived at in the right way.

Aim For A Dynamic Mix With Room To Breathe

The key to a great mix is to start with a dynamic production—one that has variations in energy throughout.

Resist the urge to destroy headroom by cranking up the faders—or worse, slapping a compressor or limiter on the master bus for the sake of loudness.

Free Vst That Creates Room Space Saver

It may take a few tries to make headroom a part of your workflow. But I guarantee your mixes will have a far better feel. Sending a mix with good headroom for mastering will elevate your mix to a mastered-piece!

Sakura free vst ableton. So stay cool, keep your levels a safe distance from 0 dBFS, and let that mix breathe.