JST have taken the original Gain Reduction plugin to the next level with Gain Reduction 2. They’ve managed to add extra features but still retain the simplicity that made the original so great. Add it to some well-recorded vocals and it’s easy to enhance them, bring them to life and help them to find their place within a mix. Gain Reduction Deluxe replaces Gain Reduction and is the first major update to the original plugin, Gain Reduction. Learn more about Gain Reduction Deluxe. JST Clip JST Clip is Joey Sturgis's version of a clipper that is built with the mixing and mastering engineer in mind. Read (New) JST Gain Reduction Deluxe VST WIN-OSX from the story Raid by beanswisthansubs88 with 87 reads. Gain Reduction is a vocal compressor plugin by producer Joey Sturgis. This plugin is intended for vocalists, musicians, engineers, mixers,.
| I have a pop rock song with vocals that are talked in rhyme with some elements of singing that very loosely resemble those of Anthony Kiedis of Red Hot Chili Peppers. I doubled them to thicken them and they sound pretty good that way. What plugins could I add to them to make them sound better? I am a beginner and, therefore, I prefer to work with presets. Example: For the bass parts, I recorded with a clean guitar and transposed the parts down an octave. Then I added Ampire. The preset values for the cabinet I selected sounded better than any adjustments I made to the various parameters. I'm looking for something like that for vocals. I'll play with the parameters a little, but I am skeptical of my ability to start from scratch and actually come up with something that is a meaningful improvement. My guess is that stock reverb and compression would help, but I would like some suggestions as to specific plugins. Thanks for the tips. Studio One Artist 2.6.5.30360, Audiobox USB (two channels), Vox ToneLab ErisE4.5 monitors, Presonus HD7 2x32 Ohms headphones, PreSonus M7 mic Dell XPS 8700, Windows 8.1 (64-bit) OS, 16.0 GB RAM Intel(R)Core(TM)i7-4790 @3.6 GHz, 1.8 TB storage (1.74 free) Ibanez RGT 42 electric guitar, Ibanez GSR 200 bass guitar |
| Both compression and reverb are very common tools for ANY tracks. Compression you would probably use on the insert of the channel, where the reverb may be best on an FX track or Buss. There are vocal presets, and whatnot, on every plug that I have seen, but you want to make sure that using them doesn't get in the way of hearing what it does. A well set compressor may not even be heard by most people, so it may inhibit learning. The best way to learn it is to set the compressor to extreme settings, and start adjusting parameters back a bit until the extreme settings are not so damaging. There is a tutorial that I saw recently. I will attempt to track it down and post to this thread. Also, an alternative to compression, is to individually edit the vocal track, slicing into phrases, and adjust the clip gain in each event to even out the performance. More manual labor, but more natural sounding result. Matt Lenovo ThinkServer TS140 Win 10 64bit, 8GB RAM, Intel Xeon Lenovo Thinkpad E520, Windows 7 64bit, 8 GB RAM, Intel i5 Processor S1Pro V5 |
| There are lots of tools for treating Vocals but you are severely limited while using Artist version. I have had great results with Fat Channel but I believe you need Pro version for that plugin... Win8. i7 64 bit w ssd and 2 tb drive. 16 gigs of ram. Maudio firewire 410 and Tascom US 1641,. Alesis io2, 2 23' monitors, M-Audio Keystation 88 keyboard, 3 Ibanez guitars, 5 string Bass, Fender Strat, fender Showman amp, Bugera V22, Bugera V55,Meldaproductions plugins, Reaper, Sonar , Studio One , Waves vst etc etc etc |
| donchilcott wroteThere are lots of tools for treating Vocals but you are severely limited while using Artist version. I have had great results with Fat Channel but I believe you need Pro version for that plugin... What, specifically, comes with the pricier versions? Studio One Artist 2.6.5.30360, Audiobox USB (two channels), Vox ToneLab ErisE4.5 monitors, Presonus HD7 2x32 Ohms headphones, PreSonus M7 mic Dell XPS 8700, Windows 8.1 (64-bit) OS, 16.0 GB RAM Intel(R)Core(TM)i7-4790 @3.6 GHz, 1.8 TB storage (1.74 free) Ibanez RGT 42 electric guitar, Ibanez GSR 200 bass guitar |
| matthewgorman wroteBoth compression and reverb are very common tools for ANY tracks. Compression you would probably use on the insert of the channel, where the reverb may be best on an FX track or Buss. I already evened out the volume of the clips. The mix is quite nice for a beginner and sounds smooth. Why not create a vocal bus and put compression and reverb on it? Also, there is more than one type of compression and reverb. Do you recommend a particular one? Studio One Artist 2.6.5.30360, Audiobox USB (two channels), Vox ToneLab ErisE4.5 monitors, Presonus HD7 2x32 Ohms headphones, PreSonus M7 mic Dell XPS 8700, Windows 8.1 (64-bit) OS, 16.0 GB RAM Intel(R)Core(TM)i7-4790 @3.6 GHz, 1.8 TB storage (1.74 free) Ibanez RGT 42 electric guitar, Ibanez GSR 200 bass guitar |
| donchilcott wroteThere are lots of tools for treating Vocals but you are severely limited while using Artist version. I have had great results with Fat Channel but I believe you need Pro version for that plugin... Fat channel comes with Artist according to the comparison chart. johnsaxon wroteWhat, specifically, comes with the pricier versions? There's a sticky at the top of this forum with all of those links in it. Been there for over a year. Not sure why people keep asking about the version differences or why users have to keep giving out the same link that's already at the top of the support forum. |
| Why not create a vocal bus and put compression and reverb on it? Also, there is more than one type of compression and reverb. Do you recommend a particular one? You absolutely can use a buss, I do it a lot. For compression, I only do it when I have multiple channels feeding the buss. You can also do it with reverb, but reverb to me is a different animal. If I want to affect 100% of the signal with an effect, I throw it on the channel inster. If I am looking to blend the effect with the original more subtly, I will use an fax channel. If I need to do more routing, like a delay into a reverb, into a something else, I will use a buss. A buss can be routed anywhere, an fx channel can go to the main. There are other options to blend sounds with wet/dry controls, things like that. I am just more used to the 'console' way of routing. There are different kinds of compressors, with different control options, but compression is compression. It takes a signal, and after a certain point (threshold) it will decrease the volume of the signal by a certain amount (ratio). You can have a quick release, or allow the sound to breath going into the threshold, and sustain more to a degree with a long release. There are many types of reverbs as well. Convolvers which take an impulse response as a way to mimic a space or piece of gear, algorithmic which uses calculations to mimic a space, and so on. What I use on a particular channel or song is 100% going to depend on the song. Even a short delay can act as a reverb if you just want the track to have a bit of air. Matt Lenovo ThinkServer TS140 Win 10 64bit, 8GB RAM, Intel Xeon Lenovo Thinkpad E520, Windows 7 64bit, 8 GB RAM, Intel i5 Processor S1Pro V5 |
| I tend to do more aggressive sounding music so this might not be as relavant but worth mentioning either way.. I found this plugin called gain reduction.. jst tones is the company. its a very simple plugin with very few knobs and dials and its cheap. Its my go to vocal processor now.. it just makes everything sit in the mix properly with very little tinkering. Im pretty sure its just a series of compressors and slight eqs.. but it has dpne wonders for my songs. It almost feels like cheating half the time. It doesnt have any reverb or delay but you should be able to get vocals to sit decent with just compression and eq and then the delay and reverb is icing on the cake. For the cheap price it may be worth looking into. I have yet to try it on softer more acoustic music but maybe ill try tonight and report back. Windows 8.1 - Studio One 3 Professional - Intel Core i5-4690K Devil's Canyon Quad-Core 3.5GHz - ASUS Z97-E LGA 1150 Intel Z97 - 8GB (2 x 4GB) DDR3 SDRAM - SAMSUNG 840 EVO - On board video (for now) - Focusrite 18i20 interface - KRK Monitors - Glyph Studio External drive (amazing drive!) - Razer NAGA mouse - AXIOM49 midi controller - Alesis DM10 drum kit |
| Helpful information here. Thanks. Studio One Artist 2.6.5.30360, Audiobox USB (two channels), Vox ToneLab ErisE4.5 monitors, Presonus HD7 2x32 Ohms headphones, PreSonus M7 mic Dell XPS 8700, Windows 8.1 (64-bit) OS, 16.0 GB RAM Intel(R)Core(TM)i7-4790 @3.6 GHz, 1.8 TB storage (1.74 free) Ibanez RGT 42 electric guitar, Ibanez GSR 200 bass guitar |
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Heavy weaponry for the loudness war. Maximus will quickly become one of the most rewarding tools in your recording and mixing arsenal. Maximus applies level maximization via compression and/or limiting across three frequency bands, to enhance and improve the final track. Grab the Best Free Limiter VST Plugins available from our free plugins library!
Fruity limiter.dll File Download and Fix For Windows OS, dll File and exe file download. c: program files (x86) image-line fl studio 12 plugins fruity effects. Download over 400 Free VST Plugins and Free VST instruments.We have searched the web for the best free VST plugins to download. These are the best VST plugins that can be used with music software like FL Studio, Ableton Live, Pro Tools, Reaper, and more. However, apply too much limiting or use a lower quality limiter plugin and your carefully mixed track will lose its spark, to say the least. To prevent this dark scenario from ever coming true, here is a list of the best freeware limiter effects in VST and AU plugin formats that will help you push your mix to its, erm, limits.
MIXING & EFFECTS
The Fruity Limiter is a powerful single band Compressor (with sidechain), Limiter & Gate. To access the relevant limiter and compressor controls, switch betweenLIMIT and COMP tabs on the plugin interface (as shown below).
When to use:Fruity Limiter is ideal for maximizing & limiting complete mixes, compressing & limiting individual sounds or doing basic 'noise gate' duty.Closely related alternatives areMaximus (multiband compressor/limiter/maximizer), the Fruity Compressor,Fruity Multiband Compressor and Soundgoodizer.
There is a video series available - Compression & Limiting video tutorials.
Overview
Click on the following links to jump to the section of interest:
Signal Flow
The signal flow goes from the input to the Compressor (COMP), Gain, Limiter (with integrated Noise Gate), Saturation (SAT) and finally to the plugin output.
NOTE: To use the Compressor or Limiter in isolation, turn the Limiter CEIL or Compressor THRESH to their maximum value respectively. In the case of the Limiteralso set ATT to 0.
Compressor Controls
Compression is a form of automated gain control that reduces thedynamic range of sounds. When the input signal exceeds a predetermined threshold the rate of increase is slowed (or even stopped) beyond that point. The art of setting a compressor is mainly in fine-tuning themagnitude, speed and timing of the automated gain changes so that the compression process does not introduce artifacts. How can reducing the amplitude peaks make the sound seem louder? To understand this we need to consider the way our hearing interprets thestart (attack) and body (sustain) portion of sounds. It transpires that the attack (first ~10 ms) is used mainly to form impressions of timbre, clarity, crispness and punch, while the sustain contributes most to the perception ofloudness. The sustain is most important because loudness perception comes froman integration (averaging) of the preceding 600-1000 ms to any given moment. Attack transients (of very short duration) simply don't have as much weight (due to their short duration) as the sustain portion of the sound. Lowering the amplitudeof the peak transients, frees up headroom to raise the gain of the sustained portions of the signal (after compression), it is this step that increases loudness. However, as we alluded to earlier, compression representsa trade-off between dynamics and loudness, welcome to the loudness wars!
Video tutorials:Compression video tutorials
Loudness
These controls affect the input and compression thresholds for Fruity Limiter.
- GAIN (Purple) - Post compression output (makeup) gain. NOTE: this gain is post-Compressor and pre-Limiter.
- THRESH (Blue) - Compressor threshold. Sets the level above which the signal will be compressed. To disable the compressor stage set the threshold level to the maximum (0 dB) level.
- RATIO (Blue) - Compression ratio. Sets the amount of compression to be applied once the threshold is exceeded.
- KNEE (Blue) - Compression rate. Sets the transition between no and full compression. The compression ratio can be set to increase gradually(soft knee) or rapidly(hard knee).The compression envelope will display while the knob is held.
NOTE: For the compression stage to become active you must lower the THRESH (Threshold) below the input peaks and increase the RATIO and optionally KNEE controls.
Envelope
- ATT (Attack time) - Adjusts how quickly the compression envelope responds to the start of the signal (in ms). NOTE: The ATT control also sets a 'look-ahead' delay the Limiter channel and so affects the latency of Fruity Limiter. The purpose is to allow the limiter algorithm to see transients before they arrive, so they can be reacted to instantly. As it's impossible to look into the future, realtime processing is delayed so the incoming audio-stream can be previewed. The ATT control for the compressor channel does not affect look-ahead.
- CURVE (Attack & Release curve tension) - Select from curve 1 (immediate attack/release) to 8 (slow attack/release). This control sets both the Attack and Release curves.NOTE: in the example below the attack was set to 1 ms and release 550 ms so only the release curve is visibly affected by the CURVE setting. At shorter release (REL) times the tensioneffect will be much less visible on the display, but can be very useful for tuning out distortion. At longer release times, as shown below, the curve setting can be used to good effect timing/tuningside-chain pumping effects to get the right feeling to the volume 'bounce-back'.
- Sidechain - This selector works in conjunction with the Mixer Sidechain (Track Send) routing. Sidechain options will not beavailable until one or more sidechain tracks are set in the Mixer (except if Fruity Limiter is on the Master Mixer track, when all tracks will be available). The Sidechain is sentFROM the Sidechain source Mixer track TO the Fruity Limiter Mixer track (Sidechain video tutorial):
- 1. Select the Mixer track that carries the signal to be used as a Sidechain source.
- 2. Right-click the Track Send / Sidechain Enable Switch on the Mixer track that carries Fruity Limiter (Sidechain destination).
- 3. Select Sidechain to this track from the pop-up menu or 'Sidechain to this track only' if you want to mute the sidechain audio source by deselecting the source track's send to Master. NOTE: You can send multiple side-chain sources to the Fruity Limiter's Mixer track if needed.
- 4. Right-click the SIDECHAIN selector on Fruity limiter's COMP tab and choose the Mixer track you want to receive sidechain audio from. NOTE: Fruity limiter's compression envelope will now be controlledby the sidechain Mixer track rather than the audio passing through Fruity Limiter's own Mixer track.
- 5. Lower the Threshold below the input peaks and increase the Ratio and optionally Knee controls to engage the compression stage.
- REL - Release time (in ms), this is the main influence for the compression envelope release time. Set this too low and the sound may become distorted.
- SUSTAIN - Specifically, this sets the duration over which the input is averaged (RMS), from 0 to 1000 ms. The effect is to control compressor sustain time and prevents the compression envelope from releasing too early.
NOTE: You don't need to be overly concerned about compressor transients peaking over 0 dB since the limiter section can catch these.
Limiter Controls
Limiting is a form of heavycompression (generally used to describe compression ratios greater than 10:1). The purpose is usually to 'limit' the output levelto a set maximum level, usually 0 dB, to avoid clippingin a final mix down. The Limiter can be used to maximize the level of a track dramatically, without introducing noticeable distortion and so limiting is a favorite effect used in mastering. While louder often soundsbetter, we draw your attention to the excellent Wikipedia article on loudness wars!
NOTE: The limiter section can be effectively bypassed by turning the ceiling (CEIL) to max and attack (ATT) to minimum.
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Loudness
These controls affect the input and limit thresholds for Fruity Limiter.
- GAIN (Purple) - Limiter input gain. NOTE: this gain is post-Compressor and pre-Limiter.
- SAT (Saturation) - Controls the threshold level, signals reaching into the red region will be saturated. To lower the threshold, and so increase the saturation turn SAT left. Set by ear.Saturation (pleasing to some) is a type of amplitude distortion, usually associatedwith Valve / Tube Amplifiers, tape or analog circuitry. Generally, as a waveformexceeds the maximum amplitude that an analog system can carry, its shape is rounded or bent. This bending is a mild distortion that progressively increases as the input approaches the maximum (0 dB).TIP: For an alternative saturation sound allow the input to peak over the limit threshold, then blend in some 'Soft-clipping' from the saturation. Over-limiting adds its own kind of saturation effect that interacts nicely with the formal saturation process.
- CEIL (Ceiling) - Limiter ceiling. Sets the level above which the signal will be limited. While it is not possible to disable the limiter stage completely, setting the ceiling level to the maximum (+12 dB)should effectively prevent limiter engaging.
NOTE: For the Limiter to work the input signal must exceed the limiter threshold (CEIL). Your options are to lower the CEIL level, increase the GAIN level or increase the signal level entering the plugin.
Envelope
- ATT (Attack time) - Adjusts how quickly the limiting envelope responds to the start of the signal (in ms). NOTE: The Limiter attack time is linked to a 'look-ahead' delay function that adds a delay to the plugins processed audio (hover your mouse over Fruity Limiters FX slot, to see the look ahead delay in the FL Studio Hint Panel). To avoid issues caused by plugin latency, such as phasing when you mix Fruity Limiter's output with the dry input signal, set the attack to 0 ms OR when using Attack settings greater than 0 ms, enable the 'Plugin delay compensation > Automatic' option from the Mixer menu.
- CURVE (Attack & Release curve tension) - Select from curve 1 (immediate attack/release) to 8 (slow attack/release). NOTE: See the Compressorsection for a more detailed explanation of the CURVE 'tension' effect.
- REL - Release time (in ms). There are two release controls, this is the main influence for the compression envelope release time. Set this too low and the sound may become distorted.
- SUSTAIN - Specifically, this sets the duration over which the input peaks are averaged (RMS), from 0 to 1000 ms. The effect is to control limiter sustain time and prevents the envelope from releasing too early.
NOTE: In order to trap transient signals before they pass through the Limiter a look-ahead time greater than 0 is needed. If 0 latency is desired then you can set the limiter'sattack to zero and then adjust the compressor's attack to achieve the same effect (or as close as possible).
Analysis Display
The analysis display is a valuable analysis tool to observe how the various plugin settings interact with the input / output sounds. Click on the display to Pause the display.
Display Controls & Options
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Options - Displays plugin information.
Show input peaks - Display the input level graph.
Show output peaks - Display the output level graph. Where the input (purple) and output (green) peaks overlap the color is gray.
Show analysis & gain envelopes - Displays the analysis (blue) and gain (white) envelopes applied to the selected band (white = compression envelope).
Show level markers - Displays the GAIN (purple), CEIL (green) & THRESH (blue) level settings. In the default position the lines overlap at 0 dB andshow as a single white line.
Speed - Scroll speed slider (up is faster, down is slower).
To PAUSE the display, click on the display area. Once paused, you can continue to change display modes to examine data of interest.
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NOTE: The limiter works on peak levels and the compressor on RMS (average) levels. The blue signal trace is the RMS input signal.
Noise Gate
These controls affect the gating function in Fruity Limiter.
Controls
- GAIN (Noise gain) - Adjusts the signal level passing through the gate in the closed condition (the default 100%, i.e. no gating). Turn to the left for more gating effect.
- THRESH (Noise threshold) - Gate threshold. When the input level passes the Noise threshold the gate opens (immediately). The gate release is triggered when the signal falls belowthis same threshold to stop the signal.
- REL - (Noise release time). Longer release times cause the gate to close slowly, short release times cause abrupt closures. This acts in the same way as the release in an ADSR envelope.
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NOTE: The Gate is useful to suppress the noise that sometimes becomes audible on the tail-end of heavily compressed sounds where high levels of make-up (post compression) gain are used. It can also be put tocreative uses, such as the classic 'gated snare' sound. Place a long heavy reverb on a snare, then set the gate Gain to minimum, the Release high and the Threshold to open on the initial snare hit.Tune release length to match the BPM of the track.
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Comparison Bank
In the bottom right corner of the plugin you will find:
- Store in spare state (Down arrow symbol) - Saves the current state to the comparison bank.
- Flip with spare state (A/B compare) - Selecting this control will allow you to make A/B comparisons between the stored and current settings.Useful for hearing the effect of a tweak more clearly.
Plugin Credits
Didier Dambrin: Plugin & Interface.
Miroslav Krajcovic: Vectorial UI.
Frederic Vanmol: VST Port.
Laurent de Soras: Saturation algorithm.
Robert Bristow-Johnson: Filter algorithm.
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