The Antress Modern Plugins consists of several free VST effect plug-ins for Windows:

1. Sidechain Expander Plugin Logic Vst Plugin
2. Sidechain Expander Plugin Logic Vst Download
3. Sidechain Expander Plugin Logic Vst 3.0
4. Sidechain Vst
5. Sidechain Expander Plugin Logic Vst Pro X

Just as a quick reminder, an Expander works opposite to a Compressor—instead of reducing the gain of signals above a Threshold level—making louder sounds quieter—the Expander reduces the gain of signals below the Threshold, making quieter sounds even quieter, increasing—expanding—the dynamic range, rather than decreasing—compressing—it. Download Free Expander AU VST Plugins & VSTi Instruments Here is our colection of FREE software, VST plugins, VSTi instruments, audio utilities and DAWs. Should you know of anything that we have not listed here let us know.

Modern Compressor.
* Power On/Off button.
* Gate On/Off button.
* Gain Reduction meter include.
* Post-gate control (-96 to -30 dB).
* Gate time control.
* Threshold control (0 to 48 dB).
* Attack time control (1 ms to 50 ms).
* Release time control (60, 125, 250, 500ms, 1, 2, 4sec).
* Ratio switch (1.5:1, 2:1, 4:1, 8:1, 16:1, 32:1 and Tank mode).
* Side-Chain filter control (Highpass, off to 300 Hz).
* Mix control (0 to 100 %).
* Gain control (0 to 30 dB).

Modern Equalizer.
* EQ In/Out button.
* Phase flip In/Out button.
* High-pass filter control (off, 60, 120, 180, 240, 300, 360 Hz).
* Low-freq control (60, 80, 100, 150, 200 Hz).
* Low gain control (-18 to +18 dB).
* Low Peak/Shelf modes button.
* Med-freq control (500, 1200, 1800, 2400, 3200 Hz).
* Med gain control (-18 to +18 dB).
* Med bandwidth control.
* High-freq control (3000, 6000, 9000, 12000, 16000 Hz).
* High gain control (-18 to +18 dB).
* High Peak/Shelf modes button.
* Mix-Ratio control.
* Output control (-18 to +18 dB).

Modern Expander.
* VU meter include.
* Threshold control (-96 dB to 0 dB).
* Ratio control (1:1 to 30:1).
* Knee control (0 to 20 dB).
* Range control (0 to 60 dB).
* Attack time control (0.1 to 3 ms).
* Release time control (150 to 3000 ms).
* Mix control (Full wet to dry).
* Output control (-20 to +20 dB).

Modern Exciter.
* Power On/Off button.
* Stereo level meters include.
* Extreme Low, High controls.
* Balance control.
* Output control (-18 to +18 dB).

Modern De-Esser.
* Power On/Off button.
* Gain Reduction meter include.
* Threshold, Ratio, Width, Release controls.
* Freq control (3000 to 9999 Hz).
* Output level control (-15 to +15 dB).

Modern Limiter.
* Power On/Off button.
* Gain Reduction light include.
* Link/Split modes switch.
* Input control (0 to 20 dB).
* Release control (30 to 2000 ms).
* Limit range control (0 to 96 dB).
* Output control (0 to -20 dB).

Modern Spacer.
* Power On/Off button.
* Stereo level meters include.
* Pre-Delay control (off to 2 secs).
* Time control (off to 10 secs).
* Room Depth control (15 to 3000 m).
* Room Width control (20 to 300 m).
* Mix control (Full wet to dry).
* LS, MF, HF, HS controls for Reverb EQ.
* Output control (-18 to +18 dB).

Modelling Edition
* collection from classic outboard processors.

Modern Apophis.
* Classic SSL® G384 Compressor clone.
* Power On/Off switch.
* Gain Reduction meter include.
* Thresh control (Threshold, +15 to -30 dB).
* Makeup control (Gain, -5 to +15 dB).
* Ratio selector (1:1, 2:1, 4:1, 6:1, 10:1, 20:1).
* Attack time selector (0.1, 0.3, 1, 3, 10, 30 ms).
* Recovery time selector (0.1, 0.3, 0.6, 0.9, 1.2 secs and Auto).
* Side-Chain highpass filter selector(Off, 20, 40, 80, 160 Hz).
* Mid/Side stereo image control.
* Mix control (Full wet to dry).
SSL® is a registered trademark of Solid State Logic, Inc.

Modern Lost Angel.
* Classic LA-2A® Compressor clone.
* Power On/Off switch.
* Gain Reduction meter include.
* Peak control (Threshold, 0 to -48 dB).
* Gain control (0 to 48 dB).
* Attack time (Variable, 0.1 to 10 ms).
* Release time (Variable, 0.05 to 3 secs).
* Comp/Limit modes switch.
LA-2A® is a registered trademark of Universal Audio, Inc.

Modern Seventh Sign.
* Classic 1176LN® Compressor clone.
* Power On/Off switch.
* GR/VU meter mode switch.
* Input control (Relative threshold).
* Threshold level (0 to -40 dB).
* Ratio switch (4:1, 8:1, 12:1, 20:1 and Crush).
* Attack time control (0.03 ms to 10 ms).
* Release time control (50 ms to 2 secs).
* Output control (0 to 40 dB).
1176LN® is a registered trademark of Universal Audio, Inc.

Modern Fire Chainer.
* Classic Fairchild® 660 Compressor clone.
* Power On/Off button.
* Input Gain control (1 dB steps, 0 to 20 dB).
* Threshold control (Variable, 0 to 30 dB).
* Time constant selector.
* Attack time (0.2, 0.2, 0.4, 0.8, 0.4, 0.2 ms).
* Release time (0.3, 0.8, 2, 5 secs, auto 1, auto 2).
* Ratio (Variable, 1:1 to 20:1).
* DC Adjust control (comp to limit).
* Metering switch (VU, GR, Off).
* Output Gain control (0.5 dB steps, 0 to 20 dB).
Fairchild® is a registered trademark of Avid Technology, Inc.

Modern Black Dragon.
* Classic Pultec® EQP-1A Program Equalizer clone.
* EQ In/Out button.
* 16 KHz cut In/Out button.
* Low shelf freq selector (20, 30, 60, 100 CPS).
* Low shelf boost control (0 to +16 dB).
* Low shelf attenuate control (0 to -20 dB).
* High peak freq selector (3, 4, 5, 8, 10, 12, 16 KCS).
* High peak boost control (0 to +20 dB).
* High peak bandwidth control.
* High shelf attenuate control (0 to -18 dB).
* High shelf freq selector (5, 10, 20 KCS).
* Trim level control (-15 to +15 dB).
Pultec® is a registered trademark of Pulse Techniques, Inc.

Modern Deathcore.
* Classic Distressor® EL-8 Compressor clone.
* Power On/Off button.
* Gain Reduction meter include.
* Input level meter include (-12 dB detect).
* Input control (Relative threshold).
* Threshold level (0 to -36 dB).
* Ratio switch (1, 2, 3, 4, 6, 10, 20:1 and Deathcore).
* Side-Chain Filter modes switch (HP, LP, BP).
* Pre-Coloring modes switch (HP, DS, HPDS).
* Attack time control (0.03 ms to 10 ms).
* Release time control (35 ms to 3 secs).
* Output control (0 to 36 dB).
Distressor® is a registered trademark of Empirical Labs, Inc.

Special Edition
* special signal processor for mixing and coloring.

Modern Premier.
* Mic preamp simulator.
* Signal In/Off button.
* Monitor On/Off button.
* VU meter include.
* Input control (-18 to +18 dB).
* Level control (Mix 0% to 200%).
* Transparent control.
* Filter control.
* Five preamp model selector.
* Harmonic control.

Modern Amplifier.
* Power On/Off switch.
* Gain Reduction meter include.
* Hidden OLED level meters include.
* Gain control (0 to 50 dB).
* Peak Reduction control (0 to -50 dB).
* Fast/Slow modes switch.
* Compress/Limit modes switch.

Modern Deep Purple.
* Signal In/Off switch.
* LCD display include.
* High-pass filter control (20 to 200 Hz).
* Low-pass filter control (22 to 12 KHz).
* 3 Band Program EQ (LF, MF, HF).
* Gain, Freq, Q controls.
* Trim level control (-18 to +18 dB).

Modern Vacuumer.
* Racing style Gain Reduction meter.
* Neon style level light.
* Easy/Over compression lights.
* Gain control (Semi-Auto, 0 to 30 dB).
* Threx control (Threshold, 0 to -60 dB).
* Atta control (Attack time, 1.2 to 12 ms).
* Releax control (Release time, 240 to 2400 ms).
* Hape control (Ratio, 3:1 to 30:1).

Modern Console EQ.
* EQ In/Out button.
* Phase flip In/Out button.
* Highpass filter control (20 to 300 Hz).
* Lowpass filter control (20 to 10 Khz).
* 4 Band Parametric EQ (LF, LMF, HMF, HF).
* Gain, Freq controls.
* LMF High-Q In/Out button.
* LMF High-Q In/Out button.
* HF Peak mode In/Out button.

Modern Splitter.
* Solo mode switch.
* Left channel solo.
* Right channel solo.
* Mid channel solo.
* Side channel solo.
* L/R Centered switch.
* Output level control (1% step, 0% to 200%).

Modern Monoizer.
* Power On/Off button.
* Mid gain control (0 to +12 dB).
* Side filter control.
* Highpass Filter (20 Hz to 20 KHz).
* Filter shape control.
* Side gain control (0 to +12 dB).

Modern Analoguer.
* Analog tape simulator.
* Power On/Off switch.
* Standard/Monitor modes switch.
* Hidden OLED level lights.
* Input control (0 to +18 dB).
* Output control (-18 to 0 dB).
* Color control.
* Level control.
* Filter control.
* Ceiling control(+6 to -6 dB).

Modern Flash Verb.
* Process On/Off button.
* Send mode On/Off button.
* Input control (-6 to +6 dB).
* Level control (Relative reverb time).
* Reverb time (off to 10 secs).
* Room control.
* Room size (box to infinity).
* Pre-Delay time(off to 2 secs).

Source : Antress

on Jul 06, 2016 in Recording & Production 0 comments

Just as a quick reminder, an Expander works opposite to a Compressor—instead of reducing the gain of signals above a Threshold level—making louder sounds quieter—the Expander reduces the gain of signals below the Threshold, making quieter sounds even quieter, increasing—expanding—the dynamic range, rather than decreasing—compressing—it. When quiet sounds are further reduced to the point where they’re no longer audible, this most extreme degree of Expansion is Gating. Gating is probably the most common application for Expanders, to get rid of unwanted noise and leakage in recorded tracks (when carefully applied), but it can be pressed into service for other, more creative, uses as well. Here are 4 tips for getting the most out of these often-forgotten studio tools...

1. Watch out for artifacts—use Attack & Release for transparent Gating in playback

A well-set up Noise Gate can quickly and easily clean up all manner of unwanted sound/leakage in a recording, but it can also accidentally cut into the desired audio as well. Remember, the Gate’s action—removing lower level sounds—assumes that all sound below the user-set Threshold is unwanted noise and leakage. But this isn’t always the case—sometimes parts of the main signal also fall below Threshold, and can be accidentally Gated out. This can produce a couple of artifacts—the beginnings of notes/words, coming back in after a Gated break, may start off softly enough that they won’t cross the Threshold (causing the Gate to open back up) until it’s too late, cutting off the initial attack or syllable, or even just the initial letter of a word. The other issue is with the tails of notes—decaying notes may be cut short, or one that has a little vibrato/tremolo on it may linger around the Threshold momentarily, wavering below and above it, causing the Gate to open and close rapidly, producing a scratchy sound as the note dies away. This effect is referred to as “chatter”, and it needs to be avoided.

Careful use of the Attack and Release controls can help with these potential Gating artifacts. Assuming you’ve found the best Threshold setting, a very fast Attack will insure that the beginnings of notes/words will get through cleanly when the Gate opens back up after doing its thing. However, too fast an Attack might possibly cause clicking—it could create an initial attack envelope so quick that it, in effect, creates a small transient of its own. You might want to dial up Attack times no faster than around a millisecond or so, if you perceive any clicking in the attacks of notes when the Gate is in use.

Sidechain Expander Plugin Logic Vst Plugin

On the other side of the coin, a slower Release can help with any chattering, or notes that cut out too quickly. Eventually any decaying notes will hit the Threshold and be gated out, and a too-fast Release will interrupt the natural decays of the notes. A slower Release will still let gating begin as the decaying note crosses below the Threshold, but if you can match the rate of the Gate’s Release to the average rate of the notes’ natural decays, then you’ll have greater leeway for finding and setting an effective Threshold, without the tails of notes suffering from any unnatural change in length or falloff.

But the ideal settings for Threshold, Attack, and Release may not be consistent throughout an entire recording. When that’s the case (which it may be as often as not), using a Gate on the way in—on the incoming signal before it’s recorded—may simply trade one problem (leakage) for another (notes with altered attacks and decays). Though it can be tempting to Gate on the way in and get that bit of processing out of the way, making one less thing to deal with in the mix, it can potentially create more problems than it solves. But if Gating is done on already-recorded signals, then, if artifacts are noticed, you’re not stuck with them. Which brings us to…

Sidechain Expander Plugin Logic Vst Download

2. Always check the entire song (for gating artifacts)

Fig 2 A gated track should be checked for artifacts through the entire song

If you do employ a Gate on certain tracks, once again, it can be tempting to find good Threshold, Attack, and Release settings while looping a small section of the song, set them, and then quickly move on. But, while it may be more time-consuming, I’d recommend checking the full length of the song for Gating artifacts (as above), with each Gated track soloed—you can never be sure that somewhere, subtly, the Gate isn’t cutting out something it shouldn’t.

You may not notice it when you’re focused on other aspects of the mix, but I promise you, eventually someone will pick up on it—in a worst-case scenario, somebody listening to the finished mix will point out to the artist “hey, isn’t the beginning of that word cut off?”, or “didn’t you hold that note longer?”. A little time spent anticipating and dealing with subtle problems like this ahead of time (by automating the Gate’s parameters, for example) can save some embarrassment, or forestall a more significant problem later on.

3. Take my breath away—or maybe not so much

Fig 3 A Gate set to minimize (but not completely eliminate) breath sounds

Besides eliminating leakage, one of the other applications for a Gate/Expander may be to deal with excessive breath sounds in a vocal recording. Of course, it’s natural for singers to breathe between phrases, but some singers—especially inexperienced ones—may not have mastered the art of subtle breathing, and you can end up with a track full of loud gulps for air that make the singer sound like he/she is practically drowning. The compression that’s commonly used on vocals will accentuate these even more, to the point where they’re beyond natural breathing and need to be addressed. Of course, you can edit them out, but a Gate could make for a quicker solution (needless to say, that Gate needs to be inserted ahead of any compression that may be applied to the track, which would make it harder for a Gate following it to do its job successfully).

But completely removing breath sounds might not be the way to go—as I said, they’re a natural part of singing (and spoken word recordings, as well), and if they’re removed completely, it can make the vocalist sound somewhat breathless, even subconsciously making listeners tend to hold their breath as well.

A better choice might be to lower the level of the breaths without completely eliminating them.

Some simpler Gates might have no way to do this—they’re all or nothing—but most can be operated more gently, shifting from full-blown Gating to more gentle Expansion. The degree of gain reduction can be reduced, so when it does occur, it doesn’t completely remove the breath sounds, it just attenuates them to an appropriate degree, until they sound like they’re in good, natural, unobtrusive balance with the rest of the performance. A Range or Ratio control (or both, if available) would be set to a less extreme value—for example, instead of a range of -80 dB gain reduction (full-blown Gating), you could set -15 to -20 dB, reducing the breath sounds but still leaving just enough of them for a natural-sounding track.

Audio Example 1—A track with loud breaths; the Gate minimizing (but not removing) the breath noises:

4. Get creative—a Gate is not just a tool

Fig 4 A Gate tightening up the timing of a bass track via a sidechained kick drum track

Besides using a Gate/ Expander for problem-solving, you can also press one into service for creative applications as well. A Gate can be employed to tighten up the timing of one part to another, and even impose an envelope on notes. Here’s a common trick many people like to do with Gating on a bass track...

Let’s say you have a bass track that’s a good part, reasonably well played, but its timing is just not quite tight enough with the kick drum—the bass is rushing just a bit, rather than locking in with the more laid-back groove the drummer is laying down. Well, of course, nowadays, you could go in with your favorite time-shifting software and elasticize or flex the part into submission, even going so far as to fully quantize it. But you could also—possibly more subtly—lock that bass in with the kick drum by utilizing a Gate controlled via a sidechain. This can let you not only lock the bass to the kick’s timing, but also modify the bass player’s performance as well, controlling the length (the decay) of his notes. Here’s how you’d set it up...

The Gate would be inserted on the bass track, but instead of using the bass signal to determine the Threshold, you’d enable the plug-in’s Sidechain input—that input would be fed from the kick drum track. With this routing in place, and the sidechain enabled, you’d be setting the Threshold based on the level of the kick, but applying the Gating to the bass—whenever the kick hits, the Gate will open up, letting the bass through. So any early bass notes, ahead of the kick, will stay gated out, until the kicks come along, insuring that both kick and bass hit together.

With the Attack and Release controls, you can further tweak the bass. If you decide you want to change the bass player’s performance a bit, you can have him follow the kick part in lockstep, and even alter the lengths of the bass notes with the Release control. Depending on the Threshold, a shorter release can be employed to cut the decays of the bass notes, taking the part from legato to staccato or pizzicato. Some Gates have an additional control—Hold—which works in conjunction with the Release, and will provide further control over the shape of the notes’ decays. When Hold is added to the mix, it keeps the Gate open for its set length of time after the Threshold is crossed, and the Release kicks in only after that. The combination of Hold and Release controls would let you not just shorten the decays, but shape the decay envelope, allowing more creative control over that modification of the original performance.

Sidechain Expander Plugin Logic Vst 3.0

Audio Example 2—A bass not tightly following the kick; that same part Gated to better match the kick’s part and timing; decay of the bass notes shortened by the Gate’s Release and Hold controls:

Expand Your Mind

So don’t forget that, when it comes to dynamics, compression is not the only game in town—a well-used Expander/Gate can come in handy for many things, from cleaning up leakage, to managing breath noise, to applying creative modifications to certain performances. Even in the modern world of elastic this and flexing that, the humble Gate/Expander still has its place.

Sidechain Vst

Sidechain Expander Plugin Logic Vst Pro X