Looking to multiply your DAW’s effects options? Here are 14 possibilities to consider for coloring and expanding the spectrum of your recordings.
Sure, DAWs come with their own stock effects plugins, but there’s an entire universe of other options available. Some can be individually downloaded, some come in packages, some are good all-around workhorses, and others recreate treasured sonic aspects of vintage gear—even from specific, history-making studios.
If you’ve been recording in your home studio, you know that having the right effects plugins can make your track-cutting, mixing, and production pop. But trying to keep up with what’s out there? Well, let’s just say option fatigue is real.
We’re lucky. As Nashville-based producer-engineers who are also instructors at Belmont University in the Audio Engineering Technology program, we see and—more importantly—hear and use a lot of effects plugins. And while this article is by no means definitive, we are about to present you with an array of choices from the five essential plugin food groups—modulation (chorus, phasing, tremolo, vibrato), time-based (delay and reverb), spectral (EQ and panning), dynamic (compression, limiters, etc.), and filter (low-pass, high-pass, band-pass)—that you might consider investigating to fortify your recording diet. All of these will be easy to work with as long as you’re comfortable with your DAW, and all are compatible with Mac and PC operating systems.
Modulation
You’ve been hearing these effects all your life, in many of your favorite recordings, but there’s nothing quite like getting your hands on the controls of a wealth of modulation options to spice up your sonic menu. We suggest checking out the following.
• IK Multimedia MixBox ($79–$199 street, as well as a free version): One of our favorite go-to plugins is MixBox from IK Multimedia. From both a production and mixing workflow, the creative and sonic possibilities of this 500-series-style plugin are endless! On the topic of modulation effects, in addition to the standards (chorus, phase, tremolo, and vibrato), MixBox offers a unique selection of processors that include AM/FM modulators, Auto Pan, and Slicer. As the name suggests, the Slicer module works great for adding rhythmic slices and random patterns to your audio tracks. I’ve found that using the combination of the Pattern and Freq parameters allows for endless control of rhythmic and tonal variation when used with synth leads, etc. Altogether, this package offers up to 70 effects and processors.
• Eventide TriceraChorus Vintage Tri-Chorus ($99 street): When you think of the chorus effect, songs such as “Every Breath You Take,” “Come As You Are,” and the classic guitar intro to “Run To You” by Bryan Adams will immediately come to mind. This versatile plugin takes on the famed Tri-Stereo chorus, used on sessions by Steve Lukather and Michael Landau, and offers a wide variety of presets and features that can be used on guitar, bass, vocal, keys, and synthesizers to achieve the signature watery/lush and chorale effect.
“You’ve been hearing these effects all your life, in many of your favorite recordings.”
• Soundtoys PhaseMistress Analog Phase Shifter ($99 street): Phase shifting is an essential effect that has been used as a creative layer on numerous recordings over the decades, starting with Jimi Hendrix. And, of course, there’s the opening riff of Van Halen’s “Ain’t Talkin’ ’Bout Love.” The PhaseMistress, whose name alludes to the Maestro Phase Shifter and the EHX Electric Mistress, is a versatile processor that allows you to dial in a variety of sounds that are modeled after the same analog pedals that guitar giants such as Jimi, EVH, and David Gilmour used. With all DSP plugins these days, we’re seeing more additional processing and signal chains. An added feature that really sets the PhaseMistress apart is the analog-style algorithms (Clean, Fat, Squash, Dirt, Crunch, Shred, and Pump) that also add a touch of saturation and compression to the signal you are working with.
Time-Based
These delay and reverb effects can lead you to wide sonic vistas and otherworldly locales, as well as classic guitar tones—creating depth and dimension, and enhancing the spatial impression of a mix.
• Eventide ShimmerVerb ($99 street): We love experimenting with different types of time-based effects for creative effect and spatial cohesion. For creating ambient and ethereal spatial texture, one of our favorite digital reverbs is the ShimmerVerb, a reverb plugin with parallel pitch shifters. The presets alone sound great, and there’s a wide variety of dreamy tones that can work perfectly for both live and recording situations. One of our go-to recording setups is running a Fender Strat with a Lollar Imperial pickup in the bridge through a ’65 Deluxe emulation with a slight touch of tremolo and the ShimmerVerb’s Radiant Caverns setting. Sublime!
• IK Multimedia T-RackS Sunset Sound Studio Reverb ($149 street): To our thinking, the Sunset Sound Studio Reverb should be in every mixing engineer’s toolbox. Based on the hardware at the historic Sunset Sound Studio in Los Angeles, this processor works great across many instruments and musical genres. The plugin offers seven different reverb types that include Chamber, Live Room, ISO Booth, Plate/Spring, and Studios 1, 2, and 3. What sets this reverb plugin apart from others is the ability to control the stereo image of the reverb width.
“One of our go-to recording setups is running a Fender Strat with a Lollar Imperial pickup in the bridge through a ’65 Deluxe emulation with a slight touch of tremolo and the ShimmerVerb’s Radiant Caverns setting.”
• Waves Abbey Road Reverb Plates ($35 street): Of course, whenever you hear the name Abbey Road, you think of the Beatles. This plugin lets you apply virtual versions of the legendary London studio’s reverb plates to your audio tracks—plates that breathed space into recordings by the Fab Four, Pink Floyd, and many others. The Waves Abbey Road gives you four different modeled plates to choose from. Of course, as with most time-based plugins, this processor has built-in equalization parameters, pre-delay, and a dry/wet blend. However, unique features of the Waves Abbey Road Plates are the Drive and Analog options.
Dynamic
And now we enter the world of compressors and limiters, which, when used correctly, can burnish guitar and bass tones with the precision of a sculptor.
• IK Multimedia Lurssen Mastering Console ($149 street): One of our favorite processors to use on the master bus is this plugin suite, which offers compression, EQ, de-essing, and limiting. It has a wealth of features, like a push control for EQ adjustment and an input drive control, that make it easy and intuitive to use. We really like the 5-band EQ for adding subtle touches of low-end beef and high-end sparkle to tracks. We use the term “glue” frequently in the world of mixing. This plugin is the superglue that binds overall mixes together by adding a nice blend of overall dynamic and spectral enhancement. While final mastering is always best left to mastering engineers, the Lurssen Mastering Console makes pseudo-mastering your tracks more easily attainable.
• IK Multimedia T-RackS Comprexxor ($149 street): As soon as we got our hands on the Comprexxor, we were blown away. This plugin is definitely like a Swiss Army Knife. This is one of our favorite dynamic processing plugins to use for heavier/cinematic rock music. The Drum Squash Room setting has proven to be excellent when routing drums for parallel compression. Among the Comprexxor’s exceptional features are second- and third-order harmonic saturation, optical and mid-side processing, and the Tone Color Control parameter.
“We know that there are different benefits and practical applications of the two main types of equalizers: parametric and graphic.”
• Waves CLA-3A Compressor/Limiter ($49 street): The Waves CLA-3A is hands down one of the most effective and dynamic-enriching processors we have ever used. We recommend it for anybody who wants to experiment with mixing in a DAW. At times, it can be frustrating for up-and-coming engineers to grasp the concept of compression. When we use compression, we either want to add punch or beef to audio tracks—say, kick drums or bass guitars—or balance the dynamic range of certain vocals and instruments. Compressors also enhance and add tonal character to your audio signals. When you look at the CLA-3A plugin’s interface, you see two main parameters for controlling the compression amount and the makeup gain, labeled “gain” and “peak reduction.” Pretty straightforward, right? While I always trust my ears, it is also nice to have the CLA-3A’s VU metering display to see where the levels are hitting. For the low price, intuitive controls, and dynamic richness that this processor can add to your tracks, the CLA-3A is a must-have tool.
Spectral
EQ and panning open up an aspect of the listening experience that many home-studio engineers overlook, or at least underplay. For the early rulebook, consult Hendrix’s Axis: Bold as Love, but Radiohead and countless others have made their albums living, breathing organisms by using tools like these to change the sonic field and the range of their tracks.
• FabFilter Pro-Q 3 EQ and Filter ($169 street): Equalization is like sculpting: It’s about carving out space in your mix to make room for all the musical elements. The FabFilter Pro-Q 3 offers a robust set of features that give you enhanced control over the spectral landscape of your audio. The fresh look of this plugin’s interface immediately calls your attention to the parametric curves and the spectrum analyzer for visualizing the overall spectral balance. Two features of the Pro-Q 3 that really stand out are the intelligent solo mode and MIDI Learn. Perhaps you have heard the phrase “search and destroy” when it comes to finding problem frequencies in a mix? Using the intelligent solo mode helps you to better locate such problem areas and remove them from your mix quicker.
• Newfangled Audio EQuivocate Multi-Band EQ ($99 street): As engineers, we know that there are different benefits and practical applications of the two main types of equalizers: parametric and graphic. The EQuivocate plugin is a straightforward, easy-to-use graphic equalizer that gives you access to 26 filter bands that correspond to the critical bands of the human auditory system. In addition to the standard method of manipulating individual filter bands, EQuivocate has a draw curve parameter that allows you to quickly shape the frequency spectrum across multiple bands. If you’re new to the concept of using graphic equalizers, EQuivocate has a bank of custom presets that can give you a good starting place for mixing and mastering applications.
“Your DAW already has enough built-in effects for you to develop an understanding of what they do and how they work.”
• Waves V-EQ4 ($29 street): Neve introduced the 1081 console channel module in 1972 and deployed it in legendary boards such as the 8048. The VEQ-4 is an emulation of the EQ section of the 1081 that, to our ears, sounds just like a Neve EQ. This is a pretty simple box to use. It gives you the ability to add some high-frequency sheen or low-end thump—and everything in between. This EQ works well on just about any instrument or voice, doing subtle tweaks or broad curves. I like to use it on busses, and sometimes on the master bus, to color the entire mix. It’s a versatile and useful plugin for any style of music.
Filters
These frequency wranglers come in three varieties— low-pass, high-pass, and band-pass—and ride the sonic range hard, establishing cutoff levels. The simple explanation: High-pass filters will disable frequencies below a set cutoff point, low-pass will zap those over the cutoff, and band filters will affect only those in a selected band.
• McDSP NF575 Noise Filter HD Native v7 ($79 street): The McDSP Noise Filter is a very sophisticated device for removing low-frequency rumble and high-frequency hiss from your audio. With hundreds of presets and real-time analyzers, this may be the most effective noise filter we’ve ever used, and we’ve used analog and digital filters for many different kinds of audio clean-up. With seven precise notch filters, it’s easy to dial in the parts of a sound you want removed. You can solo a notch filter and hear exactly what you are removing, too. This is a very handy tool when you need to clean up or fix some audio.
• Waves Enigma ($29 street): While we use Enigma primarily as an EQ sculpting tool, since it is extremely useful when used to filter out particular frequencies, it also offers a unique combination of filters, reverbs, delays, and modulation—allowing you to create some totally original sounds. So, the addition of the other features makes this tool much more than just a filter. Using Enigma effectively may take some time experimenting to discover how to best use the different features, but you will be rewarded with fresh sonic possibilities for fixing problems or creating new sounds.
The Upshot
You can do a lot with a handful of simple plugins, so you don’t have to spend a ton of money on them to make great-sounding recordings. Investigate. Be selective. And your DAW already has enough built-in effects for you to develop an understanding of what they do and how they work. Learning to use plugins mostly requires you to simply use and trust your ears in order to get great sounds.
Ox's realistic microphone models can help you learn what to expect when switching between various analog mics.
Learn the sounds of different speaker, mic, and cabinet types.
I got the idea for this column while reviewing Universal Audio's Ox Amp Top Box for the May 2018 issue. Ox is an ingenious hybrid of speaker load box/power attenuator and cabinet/mic/room/effects modeler. You use your regular amp, but instead of miking it, you send a direct signal to the DAW or mixing board. You record the sound of your amp, while Ox simulates speakers, mics, and effects.
Crazy like an Ox. But this column isn't about recording with Ox, but using it as a teaching tool, since Ox lets us isolate each recording parameter. These comparisons may help you make smart choices when recording a hardware amp.
I used one pickup throughout—the bridge humbucker of a parts guitar. The amp is a Fender-flavored Carr Skylark. I chose a clean, bright sound to reveal how these options affect your recording's high end.
Variable 1: Speaker size. In Clip 1 you hear similar phrases played through models of four common speaker types. First comes the sort of 10" speaker you'd find in a small Fender Champ-style combo. Next is the 12" speaker of a midsized Fender-style combo, then a 12" Celestion Greenback you might encounter in a vintage Marshall cabinet, and finally the Celestion Alnico Blue from a vintage Vox combo.
TASTING NOTES: The Celestion speakers sound fatter than the American ones, but the “pointier" American sound might work better in a mix. The 10" speaker may sound small in isolation, but its bright edge can be useful when you have multiple parts competing for attention.
Variable 2: Speaker configuration. In Clip 2 you hear cabinets with varying numbers of speakers. First comes the 1x12 sound of a midsized Fender combo amp. Next is a 2x12 Fender-style cabinet. After that is the distinctive sparkle of a tweed-era 4x10 Fender Bassman. The last phrase is a classic 4x12 Marshall stack with 25-watt Celestion Greenbacks. These sounds represent a single mic on a single speaker, yet you can differentiate single- and multi-speaker cabinets due to leakage from adjacent speakers.
TASTING NOTES: When you add a second speaker, tones acquire texture and detail due to the phase cancellations between speakers. Tones also get more diffuse, with rounder highs and softer focus. Note how the 4x12 Marshall configuration has a muscular low-mid thump that the Fender configurations lack. That's due in part to the closed back of the Marshall cab.
Variable 3: Microphone type. You hear the sounds of six popular amp microphones on a single virtual 12" speaker in Clip 3. First, two dynamic mics: a Shure SM-57 and a fatter-sounding Sennheiser 421. Next come two condensers: a Neumann U 67 and an AKG 414. Finally, two ribbon mics: a modern Royer R-121 and a vintage Beyerdynamic 160.
TASTING NOTES: The dynamic mics have the sharpest, edgiest tones. The condensers have a neutral, full-frequency sound. The ribbons have rounded highs and warm lows. Remember, though, that the prettiest sound isn't always the best choice. Many engineers swear by the relatively harsh Shure SM-57, and not just because you can buy one for less than $100. Its tough, even brittle, edge can shine in aggressive rock mixes.
Variable 4: On-axis vs. off-axis. Off-axis means angling the mic away from the speaker's center towards its edge. Clip 4 features the SM-57 on- and off-axis, the U 67 on- and off-axis, and the R-121 on- and off-axis.
TASTING NOTES: A straight-on mic always provides the strongest impact and widest frequency range. An angled mic can soften a speaker's harsh edge while adding interesting texture. In a multi-speaker cabinet, the off-axis mic tends to pick up more sound from the non-miked speakers, adding additional texture via phase cancellation. And while you only hear two mic positions here (straight on and angled), there are multiple off-axis options, from a barely off-center mic to one pointed toward the speaker's outermost edge. Aim at the center for maximum punch and intensity. Aim toward the edge for slightly softer, more nuanced tones.
In an upcoming column we'll build on this foundation, integrating multiple mics, ambient room sounds, and some stereo options. In the meantime, bear in mind that the “best" sound for one recording might be the worst sound for another. The right choice is always a matter of context.
You can only pump up the volume so far.
For several months, we’ve explored ways that mastering techniques can add drama to your mixes. But those techniques can also rob your recordings of musicality and impact. After all, these are the very techniques used by many music industry professionals to create boring and obnoxious rock and pop tracks.
Thanks to digital technology, we can make recordings louder than ever before. True, volume has a hard limit: the point at which the recording crosses into digital distortion. But multi-band compression, limiting, and maximizing can raise the level of a recording’s quieter passages till they’re as loud as the highest peaks. Taken to extremes, there’s almost no dynamic variation, and no moments for our ears to rest before the next point of impact.
Maximum Mona. Whether we’re talking painting or audio files, consuming every iota of available space is rarely attractive, as symbolized by my Limited Mona Lisa portrait (Image 1). We need the audio equivalent of what visual artists call “negative space”—unpopulated portions of the piece whose emptiness/quietness makes the busy/loud parts feel exciting. But countless rock and pop recordings of the last 25 years are more like Maximum Mona than Leonardo’s original. Image 2 shows what happens to a waveform when it receives such treatment. There’s more total energy, but at the expense of drama and variety.
Image 2
Few audio pros dig this trend, so why do they do it? Partly it’s because our ears like loudness, at least to a degree. Our hearing isn’t linear. When music gets quiet, we perceive less low end relative to everything else. (For a scientific explanation of this, google “Fletcher-Munson curve.”)
But the abuse of loudness is about competition and fear. This attitude has long been prevalent in radio, where loudness is a genuine advantage as listeners scroll through the dial. But in the early ’90s, producers and mastering engineers launched a volume arms race. Even though many technicians knew this is a bad idea, they feared that their mixes would sound wimpy alongside their competitors’ work. Thus began what the recording industry calls “the loudness wars.”
Extra-Limp Bizkit. I first realized how extreme this was in 2001, when I was doing some in-house work at Interscope Records. One day in the studio I encountered mastered files for a Limp Bizkit track. The waveforms in Pro Tools had no peaks or valleys whatsoever. It was just a fat sausage of nasty-sounding loudness.
Here’s a quick guide to loudness abuse. In Clip 1, you hear the original mix, already with a fair amount of compression. In Clip 2 through Clip 11, I edge up the limiter setting, starting with 2 dB’s worth all the way up to a massive 20 dB reduction.
I’ve used one of the limiter plug-ins from Ozone 8, iZotope’s suite of mastering tools. It’s damn good software. It’s amazing how decent the morbidly over-limited tracks sound! But even though I monitored at low volume, a headache descended at around the time I crossed the -10 dB threshold. (Try toggling between Clip 1 and Clip 11. The contrast isn’t subtle.)
Loudness war correspondent. There’s a long chapter on this topic in Greg Milner’s Perfecting Sound Forever, a brilliant book on recording technology. Milner covers the entire history of recorded sound, with an emphasis on the ways evolving technology changes music, rather than the other way around. (Historians would call this viewpoint “technological determinism.”) He dissects such notoriously over-limited albums as Red Hot Chili Peppers’ Californication, Rush’s Vapor Trails, and Oasis’s (What’s the Story) Morning Glory?
Since Milner’s book was written, there’s been some much-needed backlash to the loudness wars. Still, at the recent NAMM show in Anaheim, one of mainstream rock’s most successful mixing engineers displayed some of his tracks on the big screen. They all looked like that 2001 Limp Bizkit track: total sausage party.
Only you can determine the amount of limiting that brings your mix to life and the amount that squashes it dead. As you experiment, consider this: If you want something to sound really loud, juxtapose maximum and minimum levels. When you hear an oldies jukebox, Joan Jett’s “I Love Rock ’n’ Roll” sounds louder than anything else because there’s silence between every big beat. Much hip-hop and EDM works the same way. The artful use of negative space can make your music loud and dramatic.