They are essential to crafting a sound, whether you wish to use them for ‘cleaning up a mix’, or creatively to design and mold a specific sonic brand for your music. Pretty much every song ever released, from lo-fi black metal to 80s synthpop, contains some variation of these five effects (and often many more). If you have read the first article in this series - and I stress that I will not allow you to pass my so-called ‘course’ without doing so! - you will already know this, but here’s quick refresher of the most common VSTfx you will have in your DAW’s toolbox when mixing. The 5 Integral VST Effects for Any Home Studio Are That said, I have reserved space in an article (will be one of the VSTi ones) for discussing some of the more ridiculous VSTs. In this article I’m going to try my best to keep it tidy and look at the 5 most prominent types of VST effects when it comes to designing, creating and mixing music. Trawling through sale after sale, following your favorite companies through every new release, finding an obscure $20 software that transforms all of your piano recordings into harmonies of a cat meowing - the options are endless. If I rocked up at a professional studio, I have to imagine that the big, burly security guards would be swiftly called to escort me from the premises because of what I attempted to do the world’s next big pop hit.īut I’ve worked on enough of my own and others’ music, watched enough YouTube videos and read enough books to have a fundamental understanding of mixing and processing to the point where I think I’m allowed to get excited about my next piece of software. I don’t pretend to be an expert music engineer. If you don’t know how to mix, record or write songs, even on a basic level, you’re essentially throwing your money down a vacuum (see, I told you it makes sense). You can spend an infinite amount of your hard-earned cash and have absolutely no improvement in your songs. Let’s be crystal clear - this is what makes virtual software so dangerous. It is an exciting prospect, pumping a few hundred bucks into some VSTs in the hope that your songs will come out the other end sounding as though they were made in Abbey Road studios. Okay, so maybe you think that’s the worst analogy I’ve ever thought up, but it is still technically accurate. There’s a lot of loud noise, bells and whistles, but if you fall too far into it, you get sucked up, never to resurface. IVGI also lets you alter the frequency dependency of the saturation with the RESPONSE control.The world of VSTs - Virtual Studio Technology - can be a dangerous one. Actually, you can think of ASYM MIX as a transparency control. This way you can preserve the dynamic structrure of the source better and get a more transparent result. But in IVGI's case, dialing in the asymmetry makes the negative part of the signal "cleaner". Usually, asymmetry leads to an increase of even order harmonics. It offers a unique ASYM MIX knob to alter the symmetry of the signal without affecting the harmonic content much. IVGI gives you a sensible amount of controls to manipulate the character of the saturation itself. All internal processes are modulated to some extent to make this possible. It contributes to the livelyness and realness of IVGI's saturation character. Just as its big brother SDRR, IVGI features a "Controlled Randomness", which determines the internal drift and variance inside the unit. Stereo tracks benefit from it's modelled crosstalk behaviour. Even the modelled fluctuations react dynamically and also change depending on the drive setting, so that it doesn't get in the way of the SOUND. Just as SDRR, IVGI reacts dynamically to the input signal. IVGI's base sound is comparable to the DESK mode in the upcoming big brother SDRR. It is equally capable of very dense and dirty distortion effects to spice up single tracks. IVGI can deliver very soft and subtle saturation, that feels at home on the master buss.
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