In this free video tutorial, Michael demonstrates using the bx_bassdude, bx_bluechorus2, bx_greenscreamer, bx_yellowdrive, bx_distorange and bx_console from Plugin Alliance to craft guitar tones in the box.
Most of us rely on specific plug-ins that are part of our workflow. It seems everyday new and improved products are released giving us many options. Options are great however sometimes you find something that just works for you and the latest greatest doesn’t meet or exceed your needs. Such is the case for my favorite free plug-in T-RackS Metering by IK Multimedia.
T-RackS Metering is always on my mains when tracking and mixing.
Three reasons why I always use this plug-in :
1. The spectrum analyzer. I haven’t found any other that functions quite the same.
2. The GUI is well designed and doesn’t take up much screen space.
3. It’s free.
Here’s some info about T-RackS Metering :
Nothing beats the T-RackS Metering module for getting your mix under control. This is a complete metering section with level, phase and frequency in a single, easy-to-read display for immediate access.
It features the following sections:
Precision, three-scale Peak meter with sample accuracy and digital “overs” warning
Real Perceived Loudness meter
Phase Scope with options to match style and indication you are used to
Phase correlation
Spectrum Analyzer with Peak, RMS and Averaging indications
RMS Meter
Loudness and RMS Meter “optimal” zone indication, selectable by genre and style
Peak metering shows the maximum level reached by the signal down to the single sample, while “Perceived Loudness” metering gives the listener a more effective sense of the average loudness of the track which is calculated by combining an accurate frequency weighting of the program and can be used as a reliable reference for how loud the track is being mixed. The added bonus of the selectable genres or music styles gives the user a “ballpark” reference for the music that’s being mixed.
The RMS meter is a standard reference showing the “power” of the audio signal. Typical RMS level for commercial tracks hovers at around -9dB, but this is not complete information as the RMS level is based on a flat frequency response which does not take into account the massive amount of low frequencies which are vey common in modern pop and rock mixes. Using it in conjunction with the “Perceived Loudness” will provide very useful and trusted information to set the loudness of mixes or masters.
The Phase Scope included in the meter is superior to the average plug as it reacts 40 to 50 times faster providing much more useful information. When the level of a track is pushed very hard, the scope will reflect it with a progressive squaring of the picture with sharp edges.
The Phase Correlator is a handy tool to measure the phase relationship between the Left and Right channels of a stereo mix. A +1 value shows that the mix is completely mono, while a -1 value shows a completely out-of-phase signal. In normal conditions, a mix will show values continuously varying between +1 and 0.
The Spectrum Analyzer is an 1/6-octave FFT type with flexible, customizable settings that can be tailored to a wide number of diverse situations – in either Peak or RMS mode with fast or slow response – so that the overall frequency balance of the mix can always be easily displayed.
For more information on T-RackS Complete Metering suite, and everything IK Multimedia, click here.
If you have a favorite metering plug-in or want to share what’s your favorite free plug-in please comment.
In this free video tutorial Michael Tomblin shows us the 4030 Retro Compressor plug-in from McDSP on drums in PreSonus Studio One 3.
In this video review Michael shows us the Vinyl Strip Plug-in from AudioThing in PreSonus Studio One 3.
Vinyl Strip is a multi-effect plugin featuring 6 modules: Distortion, Compressor, Bit Crusher, Tilt EQ, Vintage Reverb, and Vinylizer. The modules can be arranged in any combination by simple drag-n-drop. Vinyl Strip will add life and an old school touch to your samples and tracks, and achieve that classic vinyl record sound in your digital environment. The plugin is optimised to be lightweight on the CPU.
In this video review Michael shows us the UAD Marshall JMP 2203 Plug-in from Universal Audio in PreSonus Studio One 3
Developed by Softube exclusively for UAD-2 and Apollo interfaces, the Marshall JMP 2203 plug-in is an expert emulation of the legendary ultra-flexible 100-watt amplifier used by everyone from Iron Maiden and Slayer, to Jeff Beck and My Bloody Valentine. All Marshall plug-ins include UA’s Unison™ technology; Apollo user’s guitar pickups will see the exact impedance load as if they’re plugged into a vintage Marshall amp — a feature found only on Apollo audio interfaces. *
Introduced in 1975, the JMP 2203 is widely regarded as one of Marshall’s premier amplifier designs. The amp quickly caught on with players of all stripes with its abundance of dense crunch and power.
Marshall JMP 2203 Plug-In Key Features:
In this video review Michael shows us the Virtual Preamp Collection from Slate Digital in PreSonus Studio One 3.
The Slate Digital VIRTUAL PREAMP COLLECTION brings the authentic tone of two of the audio industry’s most classic microphone preamplifiers to your digital audio workstation. Each preamp uses state of the art analog modeling technology to recreate every aspect of the preamp circuit from mild coloration to full on saturation and distortion. The VIRTUAL PREAMP COLLECTION or “VPC” was originally designed to be used with the Virtual Microphone System’s VMS ONE Ultra Linear Microphone Preamp, but it can be used with any clean sounding preamp to add extra vibe. VPC can also add real analog preamp tone to any track or mix, and even create rich sounding distortion effects.
The FG-73 preamp module is modeled after one of the most famous British discrete solid state preamps in the audio industry that has been used on countless recordings. It has a bold, present, and warm sound that sounds great on any audio source and even full mixes.
This FG76 preamp module is modeled after a classic vintage tube preamp that has been used on many classic recordings. It has a thick, warm, and colorful tone that can make tracks and mixes sound more ‘alive’. The bottom end saturates in a very unique and musical way, making it a great module for bass guitar and kick drum tracks
VIRTUAL DRIVE
Both modules feature a “virtual drive” knob. This knob simulates the action of increasing the amplifier input gain while automatically decreasing an internal output trim, so it can set the gain staging of the preamp easily. For most color and tone effects, the left part of the knob should be used. For more saturation and full on distortion, the virtual drive can be pushed to the right side or even fully cranked.
Boz Digital Labs make some fantastic plug-ins. One of our favorites just happens to be FREE!
Bark of Dog is a bass resonance filter that lets you increase your low end without turning up the flab. I like to think of it as a way to boost the low end while still keeping it under control. While the controls are super simple, the effect that this has on controlling the low end in a mix is pretty exciting.
“Is this just a resonant high pass filter?
Yes, it is.
Why create a dedicated plugin for a tool we all already have?
Great question. Truthfully, what you get here can be accomplished with pretty much any digital EQ plugin. The reason why I made a dedicated plugin for this is because even though I had the capability to put a resonant high pass filter on my tracks for the past 15 years using my stock EQ, the thought never occurred to me to try it. I read reviews on a certain plugin that claimed to enhance the low end with a resonant high pass filter, and everybody who tried it seemed to love it. Rather than spending loads of money on a big dongle and then more money on a plugin, I decided just to make my own.
Even though it is super simple, I think it lived up to it’s hype. I love this tool. It solved all my low end problems. Because this is a feature we all already have, I didn’t feel right about charging money for it. There are enough good new ideas to do that I don’t want to fall into the trap of repackaging old tricks. Think of this as more of a really helpful tip with a plugin to go along with it. If you don’t want to download this plugin, then at least open up your stock EQ and play with the resonance on your high pass filter. It made my life a lot easier, and I think it can make yours easier too.”
To download Bark Of Dog and everything Boz Digital Labs head over to bozdigitalabs.com
I had an issue with a third party plug-ins presets not being installed in the correct location. I moved the presets to the correct location, where the plug-in searches for presets, re-opened Studio One and still no presets. After some trouble shooting (repairing disk permissions, etc.) and verifying in another DAW the presets were working correctly I knew I was missing something in Studio One for this to be resolved. I then refreshed the plug-ins folder in Studio One 3 and viola! All the presets appeared.
To refresh the plug-in directory, Under Effects right click in the browser and select “Refresh”.
Studio One Scans Presets.
Now whenever updating plugins or changing any associated plug-in files location I refresh the plug-in directory after installing the update or moving files. If you ever have a plug-in preset or update issue you may want to try the Browser Refresh function.
In this video Michael shows us the API 2500 Compressor Plug-in from Waves in PreSonus Studio One 3.
The API 2500 is a versatile dynamics processor that lets you shape the punch and tone of mixes with absolute accuracy. Its dual channel design lets the 2500 also function as two separate mono channels via a single compression setting. Using auto-makeup gain, you can adjust Threshold or Ratio while automatically maintaining a constant output level. With both “feed back” and “feed forward” compression types, the API 2500 boasts a wide range of incredibly musical parameters which have made it a favorite of engineers the world over.
In this Part 4 of a free video tutorial mini series, Michael Tomblin shows us Universal Audio’s API 550A, Maag EQ4, Neve 1073, Pultec EQP-1A, Tube-Tech PE 1C and Helios Type 69 on Bass in PreSonus Studio One 3.
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