Bass VST Plugin List / Amp Emulation and Effects. TSE B.O.D v2.0 – SansAmp-style bass VST plugin. 3rd Bass VST Plugin by Helian – Amp simulation w/effects. Cubase Artist - new.steinberg.net.
At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphones, Configuration, and Master. These buttons are arranged according to the position of the corresponding elements in the signal chain. Below the display section, the selected bass amplifier is displayed. The color and texture of the area below the bass amp indicate the selected cabinet.
Pre/Post-Effects On the Pre-Effects and Post-Effects pages, you can select up to six common bass effects. On both pages, the same effects are available, the only difference being the position in the signal chain (before or after the bass amplifier). On each page, every effect can be used once. Each effect features an On/Off button known from stompbox effects, as well as individual parameters. Wah Wah Pedal – Controls the filter frequency sweep. Envelope Filter Range – Determines the frequency range. Q-Factor – Sets the intensity of the envelope filter effect.
Sensitivity – Determines how sensitive the effect reacts to the instrument level. Attack – Determines how quickly an effect reacts to the input signal. Mix – Sets the level balance between the dry signal and the wet signal. Type – Sets the filter type. Release – Determines how quickly the effect fades after the input signal stops. Volume Pedal – Controls the level of the signal passing through the effect.
Compressor Intensity – Sets the amount by which an input signal is being compressed. Compressor MB Lo Intensity – Sets the compressor effect in the low frequency band. Activate/deactivate Auto Makeup Mode by clicking the LED at the top right of the knob. Hi Intensity – Sets the compressor effect in the high frequency band. Activate/deactivate Auto Makeup Mode by clicking the LED at the top right of the knob. Crossover – Determines the crossover frequency between the low frequency band and the high frequency band. Output – Sets the output level.
Limiter Threshold – Determines the maximum output level. Signal levels above the set threshold are cut off. Release – Sets the time after which the gain returns to the original level. Maximizer Amount – Determines the loudness of the signal. Chorus Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.
Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect. Tone – Allows you to attenuate low frequencies. Mix – Sets the level balance between the dry signal and the wet signal.
Phaser Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.
Width – Determines the width of the modulation effect between higher and lower frequencies. Tone – Allows you to attenuate the low frequencies. Mix – Sets the level balance between the dry signal and the wet signal. Flanger Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo. Feedback – Determines the character of the flanger effect.
Higher settings produce a more metallic sounding sweep. Tone – Allows you to attenuate the low frequencies. Mix – Sets the level balance between the dry signal and the wet signal.
DI Driver Level – Sets the output level. Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive and Presence are not active. Bass – Boosts or attenuates low frequencies. Treble – Boosts or attenuates high frequencies. Presence – Boosts or attenuates upper harmonics and attacks.
Drive – Sets gain and overdrive. Enhancer Enhance – Simulates the classic enhancer effect. Tone – Allows you to attenuate low frequencies. Octaver Direct – Adjusts the level of the original signal.
A value of 0 means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.
Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted. Tone – Changes the sound character of the generated signal. Delay Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.
Feedback – The higher this setting, the more delay repeats are created. Mix – Sets the level balance between the dry signal and the wet signal. Tape Ducking Delay Delay – The Delay parameter sets the delay time in milliseconds.
Feedback – The higher this setting, the more delay repeats are created. Duck – Works like an automatic mix parameter. If the level of the input signal is high, the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value).
This way the delayed signal stays rather dry during loud or intensely played passages. Tone – Allows you to attenuate the low frequencies. Mix – Sets the level balance between the dry signal and the wet signal. Overdrive Drive – Overdrive creates a tube-like overdrive effect.
The higher this value, the more harmonics are added to the output signal of this effect. Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level. Magneto II Drive – Controls the amount of tape saturation. Low/High – These parameters set the frequency range of the spectrum band to which the tape effect is applied. HF-Adjust – Sets the amount of high frequency content of the saturated signal.
Gate Threshold – Determines the level at which the gate is activated. Signal levels above the set threshold open the gate and signal levels below the set threshold close the gate. Release – Sets the time after which the gate closes.
Equalizer Low – Changes the level of the low-frequency portion of the incoming signal. Middle – Changes the level of the mid-frequency portion of the incoming signal. High – Changes the level of the high-frequency portion of the incoming signal.
Graphical EQ Display – Consists of 8 sliders that set the level of each frequency band. Allows you to draw response curves by clicking and dragging with the mouse. Reset Sliders – At the lower right of the Display.
Flattens all values to 0 dB. Output Slider – Allows you to control the frequency response. Reverb Type – A convolution-based reverb effect. This parameter allows you to switch between the reverb types Studio, Hall, Plate, and Room.
Mix – Sets the level balance between the dry signal and the wet signal. Sync Some parameters can be synchronized to the tempo of the host application. The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync.
An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control. Using Effects. To insert a new effect, click the + button that appears if you point the mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot.
To remove an effect from an effect slot, click the effect name and select None from the pop-up menu. To change the order of the effects in the chain, click on an effect and drag it to another position.
To activate or deactivate an effect, click the pedal-like button below the effect name. If an effect is active, the LED next to the button is lit. Note. Pre-effects and post-effects can be mono or stereo, depending on the track configuration. Using quick controls you can set up an external MIDI device, such as a foot controller, to control the VST Bass Amp effects.
For more information about quick controls, see the Operation Manual. Amplifiers The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp features settings typical for bass recording, such as gain, equalizers, and master volume. The sound-related parameters bass, low mid, high mid, and treble have a significant impact on the overall character and sound of the corresponding amp.
Shape 1 and Shape 2 offer predefined tone shaping. ValveAmp300 A famous tube amplifier from the 70s, useful for rock playing styles.
Greyhound An amplifier, well known for its typical growl, useful for several playing styles. GreenT A classic amplifier from the 80s, useful for funk and rock playing styles. Paradise An amplifier from the 90s, with a hifi-like clear tone, that makes it applicable for several styles. Tweed A classic vintage amplifier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players. ITech A modern amplifier, with a universal sound. The different amps keep their settings if you switch models, but amp settings are lost when closing VST Bass AMP.
If you want to use the same settings after reloading the plug-in, you need to set up a preset. Selecting and Deactivating Amplifiers To switch amps on the Amplifiers page, click the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.
Note To scroll through amplifiers, use the mouse wheel when hovering over the amplifier panel. Cabinets The cabinets available on the Cabinets page simulate real-life combo boxes or speakers.
For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets. The following cabinets are available: 4x10' 10' speakers provide a punchy clear sound that is suitable for “Slap” bass and regular playing styles. 10' speakers have a cleaner sound and more punch than 15' speakers. 8x10' Compared to 4x10', double the amount of speakers.
4x12' 12' speakers provide a mellow and full sound, making them a good choice between 10' and 15' speakers. 1x15' 15' speakers provide more low frequencies compared to the other cabinets. They are suitable for rock and vintage oriented styles. Selecting and Deactivating Cabinets. To switch cabinets on the Cabinets page, click the model that you want to use. Select No Cabinet if you only want to use the amps and effects. If you select Link Amplifier & Cabinet Choice, the plug-in automatically selects the cabinet corresponding to the selected amp model.
Microphones On the Microphones page, you can choose between different microphone types. 57 Dynamic microphone with cardioid pickup pattern. 121 Ribbon microphone with figure-8 pattern.
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409 Dynamic microphone with supercardioid pickup pattern. 421 Dynamic microphone with cardioid polar pattern.
545 Dynamic microphone with cardioid pattern that minimizes feedback. 5 Dynamic microphone with cardioid pickup pattern. 30 Reference and measurement microphone with omni directional polar pattern. 87 Condenser microphone with omni directional pattern. You can choose between different microphone positions. These positions result from two different angles (on axis and off axis) and three different distances from the cabinet.
You can crossfade between the characteristics of the two microphones. To select one of the microphone types or blend between the two types, turn the Mix control between the two microphones. To select a microphone position, click the corresponding ball in front of the cabinet. The selected position is marked in red. To determine the ratio between line and mic, turn the Mix control on the left of the cabinet. Note To scroll through microphones, use the mouse wheel when hovering over a microphone. Master Use the Master page to fine-tune the sound.
Input/Output Level Meters The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In all other views, the input and output levels are indicated by two LEDs at the top left and right. Using the Master Controls. To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit.
To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is active, the LED to the left of the Gain knob is lit. To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play a string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.
If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.
To mute the output signal of the plug-in, click the pedal-like Master button. If the output is muted, the LED is not lit. Use this to tune your guitar in silence, for example. To change the volume of the output signal, use the Level control on the Master page. Note In stereo mode, the effect requires more processing power. Use mono configuration on a stereo track to save processing power.
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View Settings You can choose between 2 views: the default view and a compact view, which takes up less screen space. In the default view, you can use the buttons at the top of the plug-in panel to open the corresponding page in the display section above the amp controls. You can horizontally resize the plug-in panel by clicking and dragging the edges or corners. In the compact view, the display section is hidden from view. You can change the amp settings and switch amps or cabinets using the mouse wheel. Using the Smart Controls Smart controls become visible on the plug-in frame when you move the mouse pointer over the plug-in panel. Switching between Default and Compact View.
To toggle between the different views, click the down/up arrow button ( Show/Hide Extended Display) at the top center of the plug-in frame. Changing the Amplifier and Cabinet Selection in the Compact View In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplifier and cabinet models. To select a different amplifier or cabinet, click the name and select a different model from the pop-up menu. To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet Choice button. If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.
Previewing Effect Settings In both views, you can show a preview of the pre- and post-effects that you selected on the corresponding pages:. Click and hold the Show Pre-Effects or Show Post-Effects button at the bottom left or right of the plug-in frame.
We tirelessly searched the internet to bring you the best free VST plugins out there. Virtual Studio Technology (VST) plugins are the tools you need to build your perfect sound, shape it with, and mix it all together to your taste. This list will give you everything you need: the best Bass VSTs, VST Effects, Drum VSTs, Synth VSTs, some Very Strange Things, Vocal Plugins and VSTs for extra Analog Warmth—For free! Simply put this list will have you covered to make your next banger and more.
Ready to dig in? Bassline Synth VSTs 1.
Steinberg – Model E The Model E is a useful 3 oscillator bass station capable of pumping out some nice lines. TAL – Elek7ro The Tal Elek7ro synth-plug is good for pretty much everything. Including making some nice full basses for your tracks. Plogue – Sforzando TableWarp2 The TableWarp2 is part of Plogue’s Sforzando bundle.
It’s a versatile synth that gives you tons of classic sounds 4. NUSofting – Sinnah The Sinnah is great. It can create cool noisy tones with its 3 channel delay matrix and feedback sculpting. TAL – BassLine The TAL-Bassline has a warm analog sound and ‘robust core‘ for all your bass and acid needs.
U-He – Tyrell N6 The U-He TyrellN6 is a powerful overall plugin that will give you all varieties of nice analog synth sounds. popuptrigger id=”9936″ tag=”signup-button” /popuptrigger 7. Ample Sound – Ample Bass P LITE II The Ample Bass P Lite II is a nice electric bass plug perfect for some groovier and more rock-centric bass sounds. LinPlug – Free Alpha 3 Free Alpha 3’s 2 oscillators are perfect for all sorts of nice basses and the built-in presets are superb starting points for all types of bass and more. Bruce Sutherland – JuceOPLVSTI JuceOPLVSTI’s interface is a lot like a video game and is super easy to use to get some superb basses, leads and pretty much any other sound you need from an FM synth.
Synister – SYNISTER Synister is one of the best looking and easiest to use synth plugins I’ve ever seen. This 3 oscillator synth is perfect for making all types of basslines. VST Effects 11. Valhalla — Freq Echo The Freq Echo is a frequency shifter with analog echo emulation. It adds chorus, phasing and flanger effects.
Softube — Saturation Knob Had to add the Softube at the last second cause it’s just so sweet. Dave Pensado loves it too. This Saturation Knob is one the best free analog emulation plugins out there. Grab this bonus plug and go!
MH Thump Percussive Subharmonic Synth MH Thump adds low end to your track. It recreates that nice thump you get on a vintage TR-808 drum machine. Tritik — Krush Bit Crusher Krush is a very elegant bit crusher. It creates that crunchy digital bit reduction effect. Mercuriall — TSC Overdrive Meet the Mercuriall Tube Screamer 808—your new overdrive effect plugin.
Modelled after the Ibanez TS-808 pedal. Pecheng — Tremolo The Pecheneg is a tremolo effect. It gives you the power to create rhythmic modulations with your sound. TAL — Chorus-LX TAL’s stereo Chorus-LX is inspired by the Roland Juno-60 chorus. It’s a simple but powerful tool. TDR — Nova EQ The TDR Nova is a four-band dynamic Equalizer (EQ).
A true workhorse. U-He — Protoverb 1.0 The Protoverb 1.0 by U-He is a different kind of reverb. It lets you generate random settings and save the ones you like.
popuptrigger id=”9936″ tag=”signup-button” /popuptrigger 20. CableGuys — PanCake 2 The PanCake 2 is most flexible panning effect you’ll ever find. It lets you manually draw the curves of your panning modulation. VST Drums 21. Mx Project — T.Rex 606 The T.REX 606 is a compact rompler modelled after the iconic Roland TR-606 drum machine. Wavosaur — DjinnDrum The Djinndrum has you set for all that classic sound that the iconic Linn LM-1 drum machine packs in. Studio Linked — Drum Pro Drum Pro has 20 built in drum kits, 12 pads and global effects, what more do you need from a drum machine plugin?
Real Drum Samples — Line Of Legends This plugin boasts 47 high quality samples, 8 individual output channels, and punch, release & attack knobs for some serious tweakage. Sean Pandy — Drums Multi If you’re looking for a heavier metal-style drum sound on your mix, this VST will definitely give you it. Teragon Audio — KickMaker The KickMaker is a plugin built for crafting the perfect kick. So what’re you waiting for?
BeatSkillz — Beat Factory Drums Beat Factory Drums is easy to use, sounds great, and packs a serious punch. MT Power — Drum Kit 2 The MT Power Drum Kit 2 has a top notch drum sounds that cut through any mix AND a fully pre-programmed groove library. Dub Turbo — DrumTroop The DrumTROOP drum machine is big both in its sound and what it offers.
It’s a “weapon of mass production.” 30. Sample Science — Vintage Drum Elements Vintage Drum Elements has a nice, warm analogue sound that vintage drum machines have. VST Synths 31. Dexed – FM Plugin Synth Dexed is a frequency modulation synth, the perfect FM VST plugin. It’s closely modelled after the iconic Yamaha DX7. Audjoo — Helix The download of Helix is a ‘trial’ but it’s fully functional. It gives you ‘soaring leads, solid basses and glimmering pads.’ 33. Martinic — Combo Model F Combo Model F is perfect for when you need a fun little organ sound.
Synth1 SYNTH1 is hosted on Geocities Japan. So get ready to take a walk down memory lane. Brain Control — TuneFish 4 Synth Tunefish 4 is a versatile free VST synth that can create just about anything: pads, leads, bass or any other tasty sound your track needs.
Muon — Tau Bassline The Muon Tau Bassline is modelled after the Roland 303. This small but powerful VST synth gives you that sweet sweet 303 bass we all know and love. Some Very Strange Things 37. U-He —Triple Cheese Synth U-he makes cheesy infinitely fun with this ridiculous comb-filter synth. Ohm Force — SymptOhm PE Any instrument that has a preset called ‘Dirty Maurice’ instantly caught our attention. And it didn’t disappoint when we started playing with it. MDSP Smart Electronix — Livecut Beat Chopper LiveCut is a beat chopper that runs on some less-than-normal logic.
Make some freaky loops! Tytel — Helm Synth Helm is a synth VST.
But you can run it anywhere, change the source code and generally modify the crap out of it. Alan Vista Plugins We had to put Alan Vista Plugins on this list. But we couldn’t decide on just one. So we picked all of them. Darwin Arts — Trilobite Apply the basic laws of Darwin evolution to grow your synth patches over time with the Trilobite. Wavosaur — VST Speek This spell-and-speak plugin reads back anything you type into it. All in a tweakable voice capable of some pretty strange sounds.
Piz — Harsh Digital Nose If a shape could make a sound, what would it sound like? Draw shapes, lines, or pictures right inside this plugin to see what they sound like.
popuptrigger id=”9936″ tag=”signup-button” /popuptrigger Vocal VST Plugins 45. TDR — Proximity The Tokyo Dawn Proximity lets you change the mic placement AFTER you record. Useful and pretty cool! Acon Digital — Multiply Chorus Vocals need some color. Acon Digital’s Multiply Chorus will thicken up your sound. Melda — MAutoPitch Auto-tune is the vocal mixer’s secret weapon. MAutoPitch is one of the best auto-tune plugins around.
Voxengo — OldSkoolVerb Auto-Tune OldSkoolVerb has got you covered in terms of vocal reverb. Create the perfect sonic space in your mix. Klanghelm — DC1A Compressor The DC1A is a nifty character compressor. It has you covered “from smooth levelling to heavy pumping.” 49. Alex Hilton — A1 Trigger Gate Using a step-style sequencer the A1 Trigger Gate packs in a boat load of cool effects. Glitch Machines — Hystheresis This delay plugin creates “robotic artifacts and abstract music malfunctions.” Count me in. Acustica — Ochre EQ The Ochre from Acustica is super useful.
It’s perfect for sculpting out the best vocals you can. Fine Cut Bodies — La Petite Excite Exciter plugins add subtle harmonics for some extra sonic-excitement in the high range. Throw this one on your vocal track. Analog Warmth Plugins 54.
Shattered Glass Audio — SGA1566 Tube Preamp Use the SGA 1566 as a saturation compressor to boost the warmth of your track. Or add a bit of grit with the tube overdrive. TDR — Slick EQ The TDR Slick EQ is a sleek easy-to-use three-band EQ that gives you amazing sound—like all Tokyo Dawn Records plugins. Shattered Glass Audio — Ace Amp This amp plugin has simple controls and doesn’t eat up your CPU.
Vladg — Molot Compressor Vladg’s Molot is a compressor with character. It will give your sound interesting color. Voxengo — Tube Amp Voxengo’s Tube Amp gives you warm overdrive, fuzzy distortion and everything in between.
Klanghelm — MJUC Jr. Compressor Klanghelm’s MJUC jr. Compressor is simple and elegant. Use it for smooth compression or a heavier pumping effect. Tone Boosters — TB Reelbus Tape Emulator The TB ReelBus simulates everything that’s great about a tape machine: warm saturation, tape hiss, wow and flutter and more.
(the demo version works great). Gotta Catch’em All Now that you got all these free VST plugins, time to hit the studio! Download the entire collection and experiment. Record better vocals or a stellar synth line. Get freaky with Very Strange Things or stay classy with classic effects.
No more excuse for not finishing that track! popuptrigger id=”9936″ tag=”signup-button” /popuptrigger.