you know..there are many plugins around here that are in somehow the same, but if you make a great searching in here you will find out that there are few others that are free and what you really need .In this case I;m talking about this ONE which solved my issues to 100% and gave me a happy feeling and hope about this site ..All try this one it 's A W E S O M E
An enormous WELLDONE to the DEVELOPERSRead Review
Perfect basic clipper with nothing less than what you need and nothing more to get in your way.
Hard knee with no oversampling for harsh digital clipping when you want it. Soft knee with oversampling enabled for a clean, basic tube-esque distortion that works greats with unsubtle saturation on drum buses.Read Review
I'm giving this a 10 because it's super unique. It's basically a delay with an integrated compressor. I'll try to do it justice, but you really should just try it for yourself. I don't know of any other delay that ducks the delay line in favor of the dry signal.
The best thing about this, the thing that sets it apart from other delays, is that you can make really strong delay lines (i.e. high in level, relative to the dry signal) without it overwhelming the dry signal. Brilliant. However, as with any heavy-handed compression, do be aware that it can create a pretty audible "pumping." And even a sort of "clicking," especially material with prominent transients. So it's definitely not appropriate for any material where you don't want that. But when you're okay with that, this thing rocks. I think the best use of this is on material that is syncopated (i.e. not just straight eights or quarters), and when you use a note value that it something other than what you can set in most tempo-synced delays (the common stuff - 1/4, 3/16, 3/8 etc). Go for odd stuff like 5/16, 5/32, 15/64 – crazy stuff like that. This thing will start making reeeeaaallly unique rhythms. Put two or more together, serially, or in stereo tandem. And things can get really wild. Creative opportunities abound.
Some people won't use this because the delay is not tempo-synced: big mistake. Read my review of GDelay. Everything I said there applies to this one even more. Learn to use Excel and do basic mathematical functions. Your music will thank you.
And as with all GVST's stuff, it's very CPU-friendly. Barely even registers on my CPU meter.
Suggestion for improvement: it would be nice if you could opt to duck the dry signal in favor of the wet signal. That could be very cool.Read Review
This is another great, free, simple, extremely CPU-efficient plugin from GVST.
The resonance sounds great, from barely noticeable to screaming, and having both the low cut and hi cut in one plugin really simplifies things when you're trying to dial in just the right amount of resonance at just the right frequencies. On a bass instrument try setting the low cut at anywhere from 40-60, and the high cut somewhere around 400-600 and then dialing up the resonance. Or do an aux/send and do more extreme settings plus adding some distortion. Either way, it's often a great way to help your bass cut through a mix in the low mids. Just keep in mind that lots of resonance will increase the "peakiness" of your bass signal, so you may want to address that with a compressor post-filter.
I know a lot of people, myself included, often high pass (aka low cut) almost everything in a mix that is not really a bass instrument, or more accurately, anything that doesn't have a whole lot of energy under 200 hz, plays more of a supporting role, and doesn't really need to sound "real" and/or full-bodied. Synth pads, backing vocals, upper register melodies, higher-octave tuned percussion, pretty much all percussion except possibly membranophones etc. It just frees up so much room on the bottom end for bass, kick, piano, guitars, vocals etc. This is where having a low-CPU bandpass filter is indispensable. And having a simple interface with easily tweakable controls makes it all that much easier to get in the habit of automating filters to open and close as the mix dictates.
One thing that I think could greatly improve this product is a trim that goes down to complete silence, as GFader does. I currently have either GBand, GFader or both, loaded on the majority of my audio and instrument tracks. It sure would be really nice to reduce that to just one. Maybe in the next version?Read Review
I've been using this for a while now, and it's nothing spectacular, but often you really don't NEED a delay to be spectacular, do you? One thing that IS great about this delay, and about all of GVST's products that I have tried so far, is their remarkably low CPU consumption. I have been searching, so far in vain, for a stereo delay (preferably free) that does not use an inordinate amount of CPU. This is not a stereo delay, but I have found that I can load TWO of these things and still get much lower CPU consumption than almost all other stereo delays! So I just create an FX (aux) channel, do a pre-fader send to it, pan the orignal hard L, and the FX/aux hard R. Splitting the signal to L/R also has a lot of other advantages as now you can apply different EQ settings to each, differing amounts of distortion, phasing etc.
Some people may look at this delay and be turned off by the fact that it has to be set in ms, rather than having tempo-synced beat choices. I get that. Tempo-synced beat choices are very convenient when that is exactly what you want. But being able to set in ms can also be a huge boon. First off, you should have an Excel spreadsheet already set up to perform beat/BPM calculations for you, so that does not become a barrier to creativity. The original calculation is simple: 60,000 / BPM = a quarter note in ms. So at 120 bpm, 60,000 / 120 = 500 ms. From there you just subdivide further to get the value of an 8th (250), 32nd (62.5), 128th (15.625) etc. And this is where there is real power in using ms instead of tempo-synced beat choices. Instead of a simple quarter note delay, why not try nine 32nds? Or thirteen 64ths! Part of the power of delays (and reverbs) can be in filling in the little "nooks and crannies" that lie between the "normal" note subdivisions. It's all still tempo-synced, but it sounds a LOT more interesting.
I was initially turned off by this delay not having a simple, single wet/dry knob. But what it has is actually better, if slightly more work to use sometimes. It has one knob dedicated to wet (effect), and one knob dedicated to dry (dry). So in the same way that a binaural pan plugin gives you more control over stereo placement than a simple pan pot, this delay acutally gives you more control over the wet/dry ratio. When you combine that with feedback modulation and other ways of differentially modifying the wet signal in relation to the dry (i.e. through signal routing + filters/EQ or other FX), it actually gives you great flexibility over the final sound.
Another great use of this is as a pre-delay, in conjunction with a reverb. I have a number of reverbs that I really liek the sound of, but that have no pre-delay. Annoying. Just throw GDelay on before the reverb and set it for about 4-8 ms and voila, perfect predelay with hardly a dent in your CPU.
GVST makes a lot of great, free plugins that are very understated in their features and especially their GUI. They don't look very appealing. But if you really learn how to be creative with them, they are great little plugins that are ever so kind to your CPU. Please also check out my review of GDuckDly, GFader, and GBand for more tips on getting the most out of these free plugins.Read Review
Don't let the simplicity of this plugin distract you from its great utility.
When I first saw this, I was like, why the hell would I need a fader plugin when I can just use / automate my channel faders in my DAW? You might be wondering the same thing. If so, read on.
I'm a big fan of song templates. Every single track has an instance of G Fader loaded on it at -6 dB. All channel faders are set to -9 dB. Between these two things, I can add oodles and oodles of tracks before I even start to come close to clipping, and therefore I just don't have to worry about levels much at all until I get closer to mixdown. I just crank up the output on my interface if it's not loud enough. I'll write any needed individual track volume automation to the G Fader lanes (which are already set up in the template, which is a HUGE time/sanity saver). Like, say I know I want the hi hats to come down 3 dB in a certain section. Or I want a snare to fade out to nothing at the end of a section – stuff like that. Once the track is more developed, I'll start adjusting levels between instruments on the channel faders. Once that's roughly where I want it, then I might also write bus level automation To a GFader at this point as well, like in a section where I need the chords/keys to come down so a solo-type instrument can come up. I'll just drop the whole bus 2 dB or so. Etc. etc. etc.
Anyway, once it comes time for final mixdown, you can sit and tweak track and bus fader levels to get the right balance, but all of your RELATIVE volume changes are not affected. Those volume rides stay! I used to get really frustrated with volume automation because if you start writing it too soon, you could end up spending a ton of time later REwriting it after you have a better idea of the final track/bus levels. OR you get sick of dealing with that quagmire, so you put off writing volume automation until the very end, which means that you're trying to cram into 15-30 minutes what could / should have been many hours worth of detail work and small decisions.
You can even use multiple instances to great effect, which is not even a problem CPU-wise, as I've never had an instance of GFader go above a tiny tiny percentage of overall CPU. Like say you need a bunch of volume rides on a vocal part, either the main vocal, or the FX return level. Up and down 1-6 dB a few dozen times. But then you realize that you also want that same part/effect to get SLOWLY louder over the course of a few bars. Just throw on another instance of GFader to do that gradual fadeup, all while leaving your original rides intact. Perfect.
GVST's other free plugins are very worthwhile as well. GBand has great resonance.Read Review
I've been looking for a plugin like this for ages. Even starting threads about it and having long discussions. And even being recommended this very plugin. And what's worse, actually trying it out.
For some reason it just didn't click with me. It is almost too simple. Maybe I have spent too long learning how to use a dozen different compressors to do what this amazing little plugin can do with a twist of a knob. It clips peaks in an inaudible fashion and gives you masses of headroom back to your mix.
I have seen it on the lists of many respected KVR members, so tonight when I was making a Drum and Bass track with 2 Amen breaks flying full force through two Voxengo Crunchessor Compressors, I thought I would give it another try. Lord knows the last thing that drum track needed was another compressor on top of it or even a limiter. That would have been heavy handed in hindsight. All that was required was GClip at the end of the chain and a slight twist of the 'Clip' knob down to 90 percent. I shaved off a whole 6dB of useless transients that were doing nothing but pushing my master channel into the red. There was absolutely no perceivable drop in volume. This thing is beyond transparent in a way that you would have to really work hard at to achieve with a compressor or limiter, which is how I would have done things in the past.
I feel like such a noob. Such a basic thing and I had NO tool to do this as quickly, simply and efficiently. Not to mention freely. Donations are definitely in order on this one. I downloaded the full pack of VSTs that are available, and so far I'm knocked out by the few I have tried. GStereo and GMonoBass spring to mind. GStereo lets you choose the width for different frequency spectrums and works surprisingly effectively. And GMonoBass worked to tame a growling bass line that fitted perfectly in my track but just had a bit too much stereo width. I just dialed in the frequency for it to split the signal down to mono. A bit like Bass Lane if I remember correctly, but I haven't used that for a very long time.
I bought two Audio Damage plugins and an iZotope plugin today. I bought two Voxengo plugins yesterday including Elephant. None of them have brought a smile to my face the way GClip has. No more going round in circles withe compressors and limiters chasing my own tail. And the best part is that there is a very useful waveform display on GClip which shows you where the peaks are and what reduction is being applied. There is even oversampling too.
This plugin is going to get a whole load of use. I can't believe it has taken me so long to figure this out. Then again, at least I have learned how to use a compressor properly in the meantime. GClip is just such an elegant solution. You might not use it on everything, but for taming wild and errant drum peaks, easily and transparently, I can't think of any other plugin to compare it to. A fully deserved 10/10. Hard to believe no one has reviewed this before. What it does is just so simple. If you are a noob learning about compression and limiting, do yourself a favour and try this out as well. You may find that you don't even need those two other tools.Read Review