Get Brainworx bx_subfilter Audio Plugin Free!

Get Brainworx bx_subfilter Audio Plugin Free!

We like free, right? Brainworx bx_subfilter offers a quick and easy approach to cleaning up low-end rumble while adding punch and power to your sound’s core. Polishing your mix’s low end can be tricky. Bass DI tracks can sound mushy, and kick tracks can lose their “pop.” Sometimes everything below 100Hz can become such an undifferentiated soup of noise that you just don’t know where to start! Start here: The bx_subfilter is just the ticket for adding clarity and definition to tracks that have troublesome low frequencies. There are lots of expensive and complicated EQ plugins out there, but when it comes to shaping your low end, the bx_subfilter is unique for its ease and simplicity. With just a few quick adjustments to its four-knob interface, you can breathe new life into those 808’s that have been muddying your mix. The bx_subfilter is a free plugin that borrows from the “Filter” section of its larger counterpart, the bx_subsynth. It’s the perfect plugin for anyone who loves the bx_subsynth’s unique approach to low-end filtering, but doesn’t need the subharmonic synthesis. If you think that cleaning up your low end shouldn’t break the bank or require twenty knobs, we’ve got a plugin for you. Among the bx_subfilter’s features: Tight Punch knob implements a resonant high pass filter that’s especially formulated for cutting problem frequencies in bass-heavy tracks Resonance selector applies three peak settings to the filter – Low, High and Extreme – for accentuating punch while taming low-end rumble Low End control applies a post-Tight Punch fixed bandpass filter, to achieve that perfect frequency balance Input/output gain controls for level matching...
Get Izotope’s Neutrino Spectral Shaper Free

Get Izotope’s Neutrino Spectral Shaper Free

Add that final polish to your mix with Neutrino, a free spectral shaping plug-in that offers a glimpse into iZotope’s newest mixing technology. Insert Neutrino on multiple tracks across your session to reveal a subtle amount of detail that can help elevate great mixes to a new level of refinement. iZotope’s free spectral shaping plug-in, Neutrino, has been designed to be simple and easy to get started with. Its effect is meant to be very subtle so that it doesn’t disrupt the intricacies of your mix, but instead adds just the slightest amount of that special “something” to each of your tracks. Here are some step-by-step instructions to get you started working with it right away. Use it everywhere. Neutrino is meant to be used on many individual tracks, submixes or stems, not your master track. In many digital audio workstations, you can add a plug-in to all tracks at once by holding down the Option key and inserting Neutrino. Neutrino has been optimized to use very little CPU power, so you can comfortably use it on all the tracks in your session without a problem. Try it at the end of your signal chain. You can instantiate Neutrino anywhere in your signal chain to get the sound you want, but try starting with it at the end of your signal chain, in the same way that you might use an analog summing emulation. Set the mode and starting points for each track. Now go through each instance of Neutrino and choose the respective mode (Voice, Instrument, Bass, Drums). Then set both the amount and detail controls to 25%...
Get Unfiltered Audio’s Indent Saturator Free

Get Unfiltered Audio’s Indent Saturator Free

Get Unfiltered Audio’s Indent Saturator Free Through August 14th! Indent is your crunch commander for electric guitar, bass, synth and drum tracks, delivering saturated tones from subtle grit to destructive overdrive. Choose among four different-sounding clippers—Hard Clip, Soft Clip, Wavefold and Overfold—at Indent’s input and output stages to add saturation with the perfect color. Then adjust the analog-style low pass filter’s Cutoff and Resonance controls to refine the tone from buttery-smooth to ripping. Indent’s Mix control blends the perfect amounts of dry and processed signals, letting you add just a hint of saturation effects or go full bore. Using Indent’s simple and intuitive interface, crafting overloaded guitars, growling bass and fat and trashy snare drum tracks is child’s play! Once you’ve got your killer tone dialed in, use Indent’s flagship modulation system to add both conventional and cutting-edge effects. Six different freely assignable and fully automatable modulators can be patched to every control knob with drag-and-drop ease. Classic tempo-synced tremolo and wah wah effects are just the start of what you can create. Modulate a drum’s input gain with an envelope follower to make stick hits explode and mic bleed shrink—or whittle the hits down to split-second spikes. Modulate Indent’s Cutoff and Resonance with a tempo-synced square-wave LFO to make saturated guitar tracks pulse and resonate to your song’s tempo. It’s fun to use distortion and modulation together in new ways to create novel, ear-catching sounds. From warm, round tones to modulated, overdriven chaos, Indent is your ticket to terrific-sounding tracks. Great for producing both familiar guitar pedal-style effects and unusual sounds that surprise and provoke Simple controls and...
Get Flux BitterSweet Transient Audio Plugin v3 – Free

Get Flux BitterSweet Transient Audio Plugin v3 – Free

Flux BitterSweet v3 Bittersweet v3 is a free software processing tool for managing audio transients. Turning the big wheel button on the sweet side, decreases the transients amplitude. On the bitter side the transients amplitude is magnified. Signal Processing Features  Output Gain, controlling the gain at the end of the processing. Bypass routes the incoming signal direct to the output for a true smooth transition between processed and clean signal. Three different transient processing modes: Main, using a regular stereo signal scheme for the processing. Center, processing the Mid channel only, very efficient for snare and kick drums. Stereo, processing the Side channel only, very efficient for panned rhythmic/transient instruments. Bittersweet v3 is built around our latest 64-bit version 3 framework improving the processing performance dramatically. The graphic rendering in Bittersweet v3 is using a GPU-efficient 2D/3D graphic engine. The engine, introduced first in the Pure Analyzer System, is based on the OpenGL standard optimizing the audio-to-visual experience utilizing the GPU on the computer’s built in graphics card. BitterSweet v3 also features a control for the signal to be processed. When the main position is engaged, the process affects the stereo signal. If Center is engaged, only the M signal of the internal MS matrix is processed. If stereo is selected, only the S signal from the MS matrix is processed. Three transient detection modes can be selected. Varying periods of integration for transients can be accessed. A Link function is provided to compensate the output gain with respect to the transient processing setting. Like all Flux:: plug-ins, it features: 64 bit floating point processing, up to 8 channels...
GoodHertz Releases Faraday Limiter for FREE

GoodHertz Releases Faraday Limiter for FREE

  Faraday Limiter is the sound of iron: colorful dynamics with warm, tape-like saturations. Big, analog-modeled transformer sound “Color” and “Warmth” controls for extended timbral shaping Advanced stereo linking: variable L/R or M/S linking Adjustable ratio: [2:1, 4:1, 8:1, 20:1] Gain reduction history meter Most modern digital limiters are designed to be sonically neutral, with maximum transparency and minimal coloration. In other words, they’re created to do one job (limit a signal’s level) without changing the overall sound too much or imparting any specific sonic signature. Inevitably, though, digital peak limiters do have a sound of their own — especially when pushed hard — and, when exposed, that sound can be truly awful: harsh, brittle high end; squashed transients; & thin or mangled low end. Rather than build another “transparent” brickwall limiter, we thought we’d make something different: something dynamic, colorful, and inspiring; something you could use for more than just pure loudness. Named after the inventor of the electrical transformer, Faraday Limiter’s analog-modeled input/output transformers are responsible for its beefy, harmonically-rich sound. The limiter circuit is smooth yet lively — it can pump faster and further than any limiter we’ve ever heard while retaining its characteristic punch and warmth. Faraday Limiter sounds great on buses, individual instruments, vocals, dialog, etc. and allows for a level of timbral shaping and tonal coloration that can’t be achieved with any other dynamics processor. Get It...
Flux Stereo Tool v3 – Updated & Still Free

Flux Stereo Tool v3 – Updated & Still Free

Stereo Tool v3 features ultra precise control of input gain and individual pan for left and right channels. A phase inverter is available on each channel. Global stereo pan and stereo width settings are also implemented to complete the management of the stereo signal. Stereo Tool v3 also offers accurate visual feedback reflecting the signal content. A vector scope display, PPM meters for both inputs and outputs, and a phase correlation meter permanently monitor the signal. Inserting our Stereo Tool v3 after a BitterSweet v3, will open your mind to new ways of controlling the stereo stage. Get This Incredible Audio Plugin Free Here Signal Processing Features Output Gain, controlling the gain at the end of the processing. Bypass routes the incoming signal direct to the output for a true smooth transition between processed and clean signal. Three different transient processing modes: Main, using a regular stereo signal scheme for the processing. Center, processing the Mid channel only, very efficient for snare and kick drums. Stereo, processing the Side channel only, very efficient for panned rhythmic/transient instruments. Processing Specifications Stereo Tool v3, as all Flux:: plug-ins, provide Up to 8 channels Input/Output. Except when using Center and Stereo mode, as they are M/S modes requiring stereo operation. 64-bits internal floating point processing. Sampling rate up to 384 kHz DXD (Pyramix & Ovation MassCore/Native)** Sampling rate up to 384 kHz for native (AU/VST(AAX). Like all Flux:: plug-ins it features 64 bit internal floating point processing, up to 8 FS (384 KHz). Stereo Tool v3 is available in native versions, AU, AAX and VST. No dongle or registration required. Compatibility All...
Get All 45 Plug&Mix Plugins for $49 (First 5000 Buyers Only – Normally $249) [EXPIRED]

Get All 45 Plug&Mix Plugins for $49 (First 5000 Buyers Only – Normally $249) [EXPIRED]

Or Get ONE for FREE by Liking Plug&Mix on Facebook. Single plugins are on sale for $10 each (normally $49 each.) Improve your Workflow with Plug&Mix Plugins P&M for Audio Professionals In todayʼs market, music production is constantly evolving. Producers, composers, musicians and artists alike need professional sounding plugins that are simple and easy to use. The P&M audio plugin series delivers the same professional sound you would come to expect from other major plugin manufacturers, but they are much easier to use. Designed with an emphasis on quality and simplicity, each plugin has a clean interface with only the most essential knobs and switches needed to dial a great sound. P&M for Audio Broadcast Broadcast, sound engineering technicians and radio operators often waste precious studio time struggling with audio plugins that are unnecessarily complicated to operate. Plugins need to inspire creativity, not restrain it! In response to that, we have developed this new series of audio plugins that might simply change the way operators think and use audio plugins in their daily tasks. P&M for Audio Students As future professionals, students need to master the basics of sound shaping and mixing. Our plugins deliver the same professional sound you would come to expect from other major plugin manufacturers but we focused on making them easy to use and understand. Each plugin has been designed to accomplish a very precise task making it quick and easy to process an audio signal as anticipated. Each plugin also provides great presets that will inspire the learning operators creativity. Simply “Plug & Mix” and...
Modern Mixing Elegantly Explains M/S Processing

Modern Mixing Elegantly Explains M/S Processing

M/S processing is also referred to as Mid/Side processing. In order to not confuse people and also to not embarrass myself, I’ll be giving a pretty basic explanation. Another reason is because I don’t like to complicate my mixing with too many complicated terms and jargon. It makes the process of mixing less enjoyable, at least from my experience. M/S Processing gives us the ability to manipulate the side information (Left and Right) and the middle information (Center) separately, within a stereo track. Now before I continue I must admit that I don’t use this technique a lot, but I’d say it maybe pops up once every mix and I use it more as an effect than anything else. Get the Rescue M/S Audio Plugin from Variety of Sound Here What are the benefits? Let’s say you have a stereo track where the middle information sounds perfect the way it is, but maybe you wish that you could turn up the sides, compress the sides, or even EQ the sides. Well good news because you can. But I must repeat, I would rather do all this in the mix and not leave it to a point of needing this type of technique. It works great when you’re given stems or loops inside the mix and you don’t have access to the individual parts. It might not be ideal but at least its better than not having it at all. Another benefit to this, leaning more towards the side of effects, is that it gives you better control over the stereo spectrum of a particular sound in your mix.  In...
iZotope Vinyl Audio Plugin – The Ultimate Lo-Fi Weapon [FREE]

iZotope Vinyl Audio Plugin – The Ultimate Lo-Fi Weapon [FREE]

iZotope Vinyl adds a touch of vintage flair to your tracks with a plug-in that’s part time machine. iZotope’s Vinyl uses advanced filtering, modeling and resampling to create an authentic “vinyl” simulation, as if the audio was a record being played on a record player. Get the perfect amount of scratchy, noisy, grit to dirty up even the cleanest tracks. The only thing that sounds better is the price: it’s free! Click here to pick it up. Key Features Mechanical Noise: The amount of turntable motor rumble and noise Wear: Control how worn out the record is, from brand new to played a few thousand times Electrical Noise: Internally generated electrical noise, such as 60 Hz grounding hum Dust: The amount of dust on the record Scratch: The number and depth of scratches on the record Warp Depth: The amount of warping and the warp shape for the record—from no warp to the edges totally melted and warped Comments from the field “If I want to dirty up my soft synths or give them a bit of an edge then I run them through various plug-ins that degrade the quality or warp things to a certain extent. That’s why I’ve always used iZotope’s Vinyl, even on our first record. I don’t use it to make something sound like vinyl at all. I use it to degrade the quality and make it sound a bit crunchier and less clean…Vinyl will always turn it into something absolutely crunched-up.” ~ Ed Mcfarlane of Friendly Fires “I’ve been recording orchestras for years and have samples from just about everywhere. I usually let the...
DIY Mastering: Get Loud, Bright, Balanced Tracks

DIY Mastering: Get Loud, Bright, Balanced Tracks

Here’s the scenario: You’re working on a track and you like how it’s sounding and want to take it to the club to test the reaction. The mix is 90% there but the arrangement needs work so it’s not ready to be professionally mastered. But how can you play it if it’s not going to stand up alongside the rest of your set? It needs to have the sound of a mastered track, without the fee. For many producers – beginner and advanced – this is an incredibly common scenario. We hear time and time again from producers who visit us for masterclasses about their own ‘mastering’ chain they use to test tracks before they’re finished and mastered by the label or their favourite studio for release. In fact, it was this that got us thinking – if you did want to beef up a work-in-progress, a modernised edit of a disco jam or your remix competition entry – anything that’s not necessarily going on sale – what are the best practices to do so? How DO you make something louder and what are the things to look out for? We decided to devote our next Friday Forum Live to this very topic, showing you that it’s possible to get great results with some simple techniques and more importantly, understanding how they work. This is not a replacement for mastering a piece of music for release – if you want to know more about advanced mastering check out our course – these are tips on getting the best pre-master possible, be it for use online, in the club or...