Magic Vocals Plugin Download Free

[Bonny Battaglino]

Compressing vocals can be an intense time in any mix. Get it right, and your vocals will shine through the song, leaving the listener hooked on every word being sung. Get it wrong, and vocals can sound overly squashed and lifeless or too dynamic to the point that lyrics are lost behind the rest of the tracks.

"I swapped out my previous vocal chain for Voca and received this message from the client: "Thank you so much for the mix; the vocals are so much softer now. I don't know how you did it, but you seem to have understood what I meant when I said I wanted them sweeter. You are a wizard." So it works amazingly well, like everything you guys do!"

"At this point, 30 years on, very few plugins have my jaw on the floor, especially compressor and saturation plugins, but Voca is simply incredible. In less than 10 seconds, it just became one of those plugins that is now NOT optional. It saved me hours of work today on a vocal that was all over the place. It's going to save me hours of work every day."

"Voca has really transformed my process. There's no more trying infinite possibilities of plugins or daisy-chaining multiple compressors. Voca gets me to the end result so much quicker because it keeps me focused on what I'm working on. It's all about me, trusting my ears and moving things around until I think, "That's the best record I can make"."

I love the sound and simplicity of Oxide Tape Recorder plugin. It sits on my vocals bus as last plugin in chain and all the magic happens.
Beautiful saturation, warmth, and opens vocals wonderfully. There is also some lovely width I can't describe, but the minute I bypass Oxide it sounds flat.
I don't know what magic UA put behind it and I don't care :) Oxide Tape Recorder is a must have for me.

The Oxide adds another priceless tool to my selection of UA Tape plugins which I now use in just about every mix session. This one really shines on Kicks and Bass elements and brings a powerful and rich fatness to the sound. Amazing!

War gleich von Anfang an begeistert vom Sound. Schiebt schn im unteren Bereich und oben britzelt es. Wunderbar fr alles vor allem fr Drums aber auch Bass, Gitarren und Gesang werden schn verdichtet. Eine automatische Angleichung der Lautstrke bei gedrckter Shift oder Strg Taste beim Input zum Outputregler wr schn gewesen. Aber ansonsten ein tolles Tape Plugin, welches bei mir in jedem Projekt zum Einsatz kommt.

I haven't had too much time to put this plugin through the paces. However I did experiment with an existing mix by replacing all of the instances of another well known tape emulator with the Oxide and it made a huge difference.

I was surprised when I've heard this plug for the first time how the signal get more "thickness"! Whatever you need, OH's on Drums, A-Guitars, Vocals ect. Only a light breeze and you hear the difference, do it !

This Tape emulation is definitely better on some sounds than others. For me it's just wonderful on bass, sub bass, and drums. If you want to knock excess brightness or harshness off of a sound this could work too. I'm glad I bought it.

First, let me say that I am on the UAD platform basically because of the Studer and Ampex tape sims. They are just breathtaking. I really couldn't believe it when UAD came out with another one.

Now having spent some time with it, I think I can say something useful about it.

It's simpler to use than either the Studer or the Ampex, and while it's obviously meant to sound like some kind of two-inch model, it's non specific. I think that's actually good, because it allowed them to get at what is good about tape generally, and focus on those areas: the non-linear (and subtle) eq, the head bump, and of course, the saturation.

So, easier to use, but not "Studer/Ampex Lite" in terms of sound. It's very, very high quality, despite being less processing intensive than the others. In general -- and this is the main thing to know about it -- it's darker than its older brothers, and probably darker than most tape sims out there. Completely stunning on bass and percussion, though I've been using it on all channels and loving the sound.

Really, really great stuff. Wonder if UAD will do another? An Otari? An EMI? An MCI? One can dream . . .

I couldn't believe how beautiful a track could sound with this awesome machine...
gorgeous distortion , beautiful crispy silk smoothing tool !

all i have to say is Thank you very much to Universal Audio for this effort and help musicians, producers, engineers to make more beautiful sounds


all the best

Sound Magic has launched Volume Rider, a new automatic volume fader adjust plugin for Windows and Mac. The plugin is designed to save users time by automatically adjusting gain values, ensuring vocal dynamics remain consistent, and preserving the full fidelity of the vocals.

Volume Rider is equipped with a range of features that make it a valuable tool for audio editing. The main feature is the Automatic Volume Fader, which adjusts the volume automatically, eliminating the need for manual adjustments. This feature is particularly useful for maintaining a consistent level of vocal dynamics, which is crucial for a high-quality audio output.

The plugin also includes an Adjustable Range and Target feature. This allows users to specify the range within which the volume should be adjusted and the target volume level. This feature provides users with greater control over the audio output, enabling them to achieve the desired sound quality.

Another noteworthy feature of Volume Rider is the Output Gain. This feature adjusts the overall volume of the audio output, ensuring that the sound is neither too loud nor too soft. This is particularly useful in situations where the original audio is either too loud or too soft, and adjustments are needed to achieve the right balance.

Volume Rider also offers Different Fading Methods. These methods provide users with different ways to adjust the volume, offering flexibility and variety. Users can choose the method that best suits their needs, depending on the type of audio they are working with and the desired output.

A few years back a friend of mine was recording at Capitol Studios in Los Angeles [Tape Op #114], and he told me there was a tech on staff there building some special compressors that I needed to hear. So, when I spotted one making the rounds at Electric Lady Studios, I jumped at the chance to take it for a spin. After a few days of use, it was pretty clear that I would not be returning this unit to its creator, so I set about finding out who that was, and how I could keep it in New York. Through a series of emails and phone calls, I got to know Ian Sefchick [#134], a musician turned studio tech and mastering engineer, who hand-builds his own designs in Burbank, California, under the moniker Magic Death Eye.

The Model Future is clearly inspired by the Fairchild 660, but its ambitions go far beyond cloning a legend. The 660 was devised in the '50s, for use with cutting lathes and radio transmitters with available "off the shelf" parts of its day. Sefchick set out to create a variable mu compressor built from improved, modern-day components, and where he couldn't find them, he fabricated his own. The compressor he offers today is the result of years of research, revisions, and collecting feedback on earlier editions tested by engineers visiting Capitol Studios.

The first thing to strike me about this unit is its outstanding build quality. The chassis feels indestructible, and bolting this 23-pound compressor into the rack is massively satisfying. The faceplate is bold but uncomplicated. The gain reduction meter is from Simpson Electric, who by no small coincidence developed meters for NASA's Apollo program. This speaks to the uncompromising attitude behind the Model Future's design. Elma Electronics stepped attenuators and NKK toggle switches make for solid and repeatable controls. Sefchick chose to use eight 6BA6 tubes (these might be best known as the tubes Manley Labs turned to for their Variable-Mu compressor "T-Bar Modification" once the 6386s became difficult to source) and then set about the painstaking task of hand winding his own transformers to achieve optimum performance from both.

Yes, it works well on any instrument or voice you can pipe down it, but it also performs brilliantly on a bus. I regularly find myself stereo linking my pair across a bus, and feeding them a whole group of instruments that need to be welded together into something greater than the sum of their parts. Think strings, brass, or an entire orchestra. I'm constantly changing my mix bus setup to suit the program I'm working with, but I have tried my Model Future compressors there on occasion, and was impressed not just by the tone and cohesion, but also by the imaging and detail. There is also now a stereo version available, which is essentially two mono units with one set of controls and a two-band shelving EQ onboard. I imagine this would be ideal for dedicated mix bus compression or mastering.

As time moves on, I'm happy to let all of my "rudimentary devices" disappear into the computer, but I still find a need to keep some inspirational hardware pieces in my new room. These compressors lend me far more than just gain control. When working with such finely crafted tools, I become compelled to realize those same standards in my own work.

When John Baccigaluppi first approached me to review the Magic Death Eye Model Future Mono Compressor, I was very excited. He had an early unit at his Panoramic House Studio where I've frequently worked, and it had become one of my go-to compressors. For those unfamiliar with John's studio, he's had every compressor ever made at some point, including a Frankenstein Fairchild 660 that Bryce Gonzales of Highland Dynamics had built about ten years ago from salvaged parts, like NOS tubes, an old Fairchild tone generator, plus a Conax 602 de-esser, which shared the same transformers as a 660. Up until the arrival of the Model Future Compressor, that "Fairchild" was the unit I would reach for most of the time to use on a lead vocal or classic Beatles-style single overhead mic. It had that familiar Fairchild characteristic of setting the lead vocal forward in the mix, or slamming the drums like a Nigel Godrich record.

c80f0f1006