Audio Mastering VST Effects Plugin BundleMASTERING VST EFFECTS DOWNLOAD

Awesome Sounding Final Mix?

What's the key to get that sweet final mix?.........

This is the mastering effects toolbox that you've been crying out for.

This mastering plug-in package is a powerful, versatile and cost effective final mix processing solution. All the plug-ins you need for mastering purposes from multiband compression to spacial enhancement, limiting reverb and more! Download now using the Paypal button below for just 29.95!

You get a suite of vst mastering plug-ins and sweet analog simulations:

System Requirements:

PC/Windows: You will need a PC machine equipped with Windows 9x, 2000 or XP, with reasonable speed for real-time audio applications.

A VST-compatible software host is required, such as Steinberg Cubase VST, Imageline FruityLoops, Logic Audio, Orion from Sonic Syndicate/Synapse or hosts that are equipped with VST-to-DirectX adapters like Samplitude 6 (there are lots more). There are many other VST host apps that will work as well. Just extract the plugins into the program's plugins directory and it should find them.

Special Free Bonus Effects!!

Buy Now and we'll include:

The free plug-ins:

Bandisto - Multi-band distortion
BeatBox - Drum replacer
Combo - Amp & speaker simulator
De-ess - High frequency dynamics processor
Degrade - Sample quality reduction
Delay - Simple stereo delay with feedback tone control
Detune - Simple up/down pitch shifting thickener
Dither - Range of dither types including noise shaping
DubDelay - Delay with feedback saturation and time/pitch modulation
Dynamics - Compressor / Limiter / Gate
Envelope - Envelope follower / VCA
Image - Stereo image adjustment and M-S matrix
Leslie - Rotary speaker simulator
Limiter - Opto-electronic style limiter
Loudness - Equal loudness contours for bass EQ and mix correction
Multiband - Multi-band compressor with M-S processing modes
Overdrive - Soft distortion
Re-Psycho! - Drum loop pitch changer
RezFilter - Resonant filter with LFO and envelope follower
Round Panner - 3D panner
Shepard - Continuously rising/falling tone generator
Splitter - Frequency / level crossover for setting up dynamic processing
Stereo Simulator - Haas delay and comb filtering
Sub-Bass Synthesizer - Several low frequency enhancement methods
Talkbox - High resolution vocoder
TestTone - Signal generator with pink and white noise, impulses and sweeps
Thru-Zero Flanger - Classic tape-flanging simulation
Tracker - Pitch tracking oscillator, or pitch tracking EQ
Vocoder - Switchable 8 or 16 band vocoder
VocInput - Pitch tracking oscillator for generating vocoder carrier input

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Virtual Studio Technology
From Wikipedia, the free encyclopedia

Steinberg's Virtual Studio Technology and its acronym VST refer to an interface standard for connecting audio synthesizer and effect plugins to audio editors and hard-disk recording systems and also giving the plugins a Graphical User Interface (GUI) for easy manipulation. VST and similar technologies allow the replacement of traditional recording studio hardware with software counterparts. Thousands of plugins exist, making VST the most widespread audio plugin architecture. The technology can be licensed from its creator, Steinberg.

VST provides a visual interface, allowing users to use the mouse to turn virtual dials and switches, similar to the physical switches and knobs on audio hardware. Some software allows users to enter exact values for parameters using the keyboard. MIDI controllers can also be used to control the software.

Some VST instruments (VSTi) are software emulations of well-known hardware synthesizer devices and sampler devices, emulating the look and feel of the original equipment in addition to its sonic characteristics. This enables VSTi users to work with virtual versions of gear that may be difficult to obtain in its original form. There's also a wide range of new VST plugins, which don't have the purpose of emulating vintage gear. VST plugins which emulate vintage gear are only a subset of all VST plugins on the market.

All VST software can run inside a Digital Audio Workstation (DAW, basically a computer with a professional sound card). VST software provides this host with additional functionality. Some hosts, but not all, can record the movements of dials and switches by the user.

VST plug-ins
With appropriate hardware and drivers, such as a sound card that supports ASIO, VST plug-ins can be used in real-time. ASIO bypasses Windows' slower audio engine, offering much lower latency. There are 3 types of VST plug-ins:

VST instruments
A VST plug-in that generates audio. They are generally either virtual synthesizers or samplers. One of the first VST instruments was the Neon VSTi which was included in Steinberg's Cubase. There are now many other instruments, both free and for purchase available. Some, such as Native Instruments' Pro-53, specifically recreate the look and sound of famous synthesizers from years past (in this case, the Prophet-5).

VST effects
A VST plug-in that is used to process an audio input, such as reverb and phaser effects. Other monitoring effects provide visual feedback of the input signal without processing the audio. Most hosts allow multiple effects to be chained. Many such effects are available as free downloads or for purchase.

VST MIDI effects
A VST plug-in that is used to process MIDI messages prior to routing the MIDI data to other VST instruments or hardware devices, for example, to transpose or create arpeggios.

VST hosts

A VST host is a software application or hardware device that allows VST plug-ins to be used in a logical context, interacting with digital audio and MIDI elements. There are a wide range of VST-compatible hosts available, some of the most popular include REAPER, Cubase, Ableton Live, Sonar and FL Studio.

Others include Wavosaur (FREE) and Sony's Sound Forge.

Savihost is a stand-alone executable that allows running exactly one VST instrument.

VST plug-ins can be hosted in incompatible environments through the use of a translation layer, or shim. For example, FXpansion offers a VST to RTAS (Real Time AudioSuite) wrapper, which allows VST plug-ins to be used in the popular Pro Tools Digital Audio Workstation, and a VST to Audio Units wrapper, which allows VST plug-ins to be used in Apple Logic Pro Digital Audio Workstation.

Some hardware hosts (e.g. Muse Receptor) can load special versions of VST plug-ins. These units are portable and usable without a computer, although all editing is done on a computer.

Other hardware options include PCI/PCIe cards designed for audio processing, which take over audio processing from the computer's CPU and free up RAM.

Software also exists allowing audio data to be transported between computers over a network, allowing the main host to run on one computer and VST plug-ins to run on peripheral computers.

VST plug-in standard
The VST plug-in standard is the audio plugin standard created by Steinberg to allow any third party developers to create VST plug-ins for use within VST host applications. VST requires separate installations for Windows/Mac/Linux. The majority of VST plug-ins are available for Windows.

Audio mastering
From Wikipedia, the free encyclopedia

Mastering, a form of audio post-production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). The format of choice these days is digital masters, although analog masters, such as audio tapes, are still being used by the manufacturing industry and a few engineers who specialize in analog mastering.

Digital technology

Optimum Digital Levels with respect to the Full Digital Scale (dBFSD)In the 1990s, the old electro-mechanical processes were largely superseded by digital technology, with digital recordings transferred to digital masters by an optical etching process that employs laser technology. The digital audio workstation (DAW) became common in many mastering facilities, allowing the off-line manipulation of recorded audio via a graphical user interface (GUI). Although many digital processing tools are common during mastering, it is also very common to use analog media and processing equipment for the mastering stage.

Just as in other areas of audio, the benefits and drawbacks of digital technology compared to analog technology is still a matter of debate. However, in the field of audio mastering, the debate is usually over the use of digital versus analog signal processing rather than the use of digital technology for storage of audio.

Although in reality there isn't such a thing as an "optimum mix level for mastering", the example on this picture to the right only suggests, what mix levels are ideal for the studio engineer to render and for the mastering engineer to process [2]. It's very important to allow enough headroom for the mastering engineer's work. Many mastering engineers working with digital equipment would agree that a minimum of 3 to 6 dB of available headroom is critical to perform good mastering. Ideal peak levels should not exceed -3dBFSD and the average sum of the left and right channels should be at around -10 to -18 dBFSD (As shown on the picture to the right).

There are mastering engineers who feel that digital technology, as of 2007, has not progressed enough in quality to supersede analog technology entirely. Many top mastering studios, including Bernie Grundman Mastering (which has mastered 37 Grammy-nominated albums), and Gateway Mastering, still embrace analog signal processing (such as analog equalization) within the mastering process. Additionally, the latest advances in analog mastering technology include 120V signal rails for previously unavailable headroom of 150dB as well as frequency response ranging from 3Hz to 300kHz. In order to duplicate this frequency response in digital domain, a sampling rate of at least 600kHz would be required, by the Nyquist–Shannon sampling theorem. However, it is pertinent that the extremes in this frequency range (3 Hz - 300kHz), are effectively inaudible, existing outside the range of most professional microphones.

The source material is processed using equalization, compression, limiting, noise reduction and other processes. Subsequently, it is rendered to a medium such as CD or DVD. This mastered source material is also put in the proper order at this stage. This is commonly called the assembly or track sequencing. More tasks such as editing, pre-gapping, leveling, fading in and out, noise reduction and other signal restoration and enhancement processes can be applied as part of the mastering stage.

The specific medium varies, depending on the intended release format of the final product. For digital audio releases, there is more than one possible master medium, chosen based on replication factory requirements or record label security concerns.

A mastering engineer may be required to take other steps, such as the creation of a PMCD (Pre-Mastered Compact Disc), where this cohesive material needs to be transferred to a master disc for mass replication. A good architecture of the PMCD is crucial for a successful transfer to a glass master that will generate stampers for reproduction.

The process of audio mastering varies depending on the specific needs of the audio to be processed. Steps of the process typically include but are not limited to the following:

Transferring the recorded audio tracks into the Digital Audio Workstation (DAW) (optional).
Sequence the separate songs or tracks (The spaces in between) as it will appear on the final product (for example, an Audio CD).
Process or "sweeten" audio to maximize the sound quality for its particular medium.
Transfer the audio to the final master format (i.e., Red Book-compatible audio CD or a CD-ROM data, half-inch reel tape, PCM 1630 U-matic tape, etc.).
Examples of possible actions taken during mastering:

Edit minor flaws.
Apply noise reduction to eliminate hum and hiss.
Adjust stereo width.
Add ambience.
Equalize audio between tracks.
Adjust volumes.
Dynamic expansion.
Dynamic compression.
Peak limit the tracks.

The guidelines above are mainly descriptive of the mastering process and not considered specific instructions that may or may not be applied in a given situation. Mastering engineers need to examine the types of input media, the expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly. General rules of thumb can rarely be applied.

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