What about free?
Working with plug-ins is fun, but it gets complex when you want to be consistent across multiple hosts. The built-in effects can be quite good and if you only ever work in Media Composer, Resolve, Premiere Pro, or Final Cut Pro and are happy with what’s included, then nothing more is needed. But if you work in multiple applications, then what you like in one will be missing in the other. For example, the Logic compressor is available in FCP, but not Logic’s vintage EQ. If I use native effects in FCP, I have to use different effects to achieve the same results in Premiere Pro.
That problem can be solved by purchasing a plug-in bundle that is consistent across multiple hosts. If you install audio effects that support AU, VST, VST3, and AAX, then you are covered for Macs and PCs, and nearly all DAW and NLE brands. However, such bundles and/or individual plug-ins are typically authorized for a single machine at a time, via an activation code, a licensing portal, or a USB license key, like an iLok. If you operate a multi-seat shop, then it’s complicated juggling plug-in licensing across several machines. Hence, you have to purchase a plug-in set for each workstation, which can be costly. So free options become quite attractive. Install them on all the machines and never deal with the “missing plug-in” error message again.
I follow the Pro Tools Expert website. They frequently highlight free audio plug-ins. Some offers are only available for a limited time and others indefinitely. Some of the free options are gimmicky or don’t have a ton of use for most video editors. iZotope’s Vinyl is a prime example. But every now and then you’ll find some gems.
I’ve run across two companies with free products that I find to be quite useful. The first is TBProAudio. They offer a range of audio plug-ins, including a couple of free products. The first is the sTilt v2, which is a linear phase equalizer, also known as a spectral-tilt or tilt-shift equalizer. Think of the frequency spread as a playground teeter-totter. The audio spectrum is on a “slope” that pivots on a center frequency. As you move the dial to the right, audio frequencies above the center frequency are boosted and audio below is cut or reduced. The result is a brighter sound. Move the dial to the left and upper frequencies are cut, while lower frequencies are boosted for a warmer sound. Adjust the center frequency value to move the “fulcrum” of the tilt-shift processing.
Another one of their free plug-ins is the mvMeter 2. This classic, analog-style meter array features several metering models, including, VU, RMS, EBUR128, and PPM. I started in radio, so working with VU meters is second nature to me. Since finding this plug-in I’ve used it on nearly every mix. I find that my mixes are now more standard with more consistent levels than simply judging by the built-in full scale dB meters.
Tokyo Dawn Records/Labs
As I searched for more useful plug-ins, I also ran across Tokyo Dawn Labs, a software offshoot of Tokyo Dawn Records in Germany. They offer a number of plug-ins, including four free products. Each of the free products includes a paid GE (“gentlemen’s edition”) version with additional features. The free products are not severely limited “lite” versions, but in fact, include 80-90% of the functionality of the GE products. These include two equalizers and two compressors, which are amazingly good – free or not.
TDR VOS Slick EQ is a mixing/mastering equalizer with several emulation models – American, British, German, and Soviet. Each model mimics certain gear or console characteristics. The American model is the most transparent. Slick EQ’s general operation is like most classic, three-band EQs with hi/low pass filtering and shelving controls.
TDR Kotelnikov is a dynamics processor, i.e a compressor/limiter. It has a very smooth and transparent sound with processing that’s affected by a stereo density control. Its transparency makes this tool ideal to apply to the final stereo output or master mix bus of any mix.
TDR Nova is a bit harder to describe. TDR calls it a parallel dynamic equalizer. It looks and acts a bit like a four-band parametric equalizer, however it also includes compression. So you can use it simply as an EQ, or you can combine that with compression to create a multi-band compressor.
TDR Molotok is another dynamics processor. I haven’t tested this one, but it definitely has the most old-school UI of the bunch. TDR states it doesn’t emulate any specific vintage device, but has what they describe as eleven flavor nuances. For me personally, Kotelnikov fits the bill for video project mastering, But If I were a music producer, then Molotok would hold some appeal.
An interesting aspect to these plug-ins is that default processing is stereo, but it can also be put into a sum or difference mode. Effectively this enables mid or side signal processing. For example, if you want to only process the middle portion of the stereo signal, set the filter to the sum mode. In addition, the filter can be switched from Precise to ECO (economy) in case you are working with an underpowered computer.
In wrapping up this series of posts, I want to point out that not all application hosts treat audio plug-ins equally. Typically DAWs generally do the best job of working seamlessly with third-party audio products. That’s less the case with NLEs.
If you use a Mac, you can install both AU and one of several VST versions of a plug-in. PCs only use VST varieties. However, in some cases, the AU version may have slightly different UI properties that the VST flavor. If you use Avid products, make sure to verify that a plug-in offers AAX and/or AudioSuite versions.
Finally, if you are a Final Cut Pro editor, tread lightly with plug-ins. FCP has increasingly become touchy with third-party audio plug-ins (under Big Sur), including many that play well with Logic Pro. And, of course, not all third-party plug-ins are yet fully compatible with the new Apple Silicon-based Macs. So make sure you test a trial version before you commit to a purchase.
©2021 Oliver Peters