Free Surround Sound Vst Plugin

[Theodora Andy]

Oneof the most interesting challenges I faced when transitioning from working primarily in music production to audio post-production was making the switch from mixing in stereo to mixing in surround sound.

In some ways, mixing in 5.1 is actually easier than stereo. For example, dialogue lives much more naturally in a mix with a dedicated center channel than it does squished into a stereo mix when working in film, and music and FX have so much more room to breathe in five speakers than in two.

This plugin works beautifully in both stereo and 5.1, displaying up to six channels (L, C, R, Ls, Rs, LFE). Insight provides crucial loudness and true peak metering ensuring that each project I mix is complies with the technical specifications it requires. It sells for $199 by itself and also comes bundled with the RX Post Production Suite.

RX6 gets real a workout on every project I mix. Modules like Mouth De-Click, Leveler, Ambience Match, EQ Match, De-Plosive, and Dialogue Isolate are just some of the essential tools I use to clean and enhance audio in my projects.

My go-to for all things reverb in surround or stereo is Audio Ease. Altiverb is the gold standard of convolution reverb plugins. A little while back, I even had the pleasure of creating some custom impulse responses for Audio Ease as part of a project to capture the sound of Brooklyn recording studios.

More recently, Audio Ease introduced Indoor, a purpose-built post-production reverb platform for placing dialogue, FX and music inside acoustic spaces such as houses, cars, restaurants and more. Indoor is truly a multi-purpose audio paintbrush allowing me to create foley and FX layers and place them within the world of the film.

For instance, if we are in a downstairs room in a house and there is music playing upstairs in a bedroom, with Indoor, you simply place the microphone downstairs and the speaker upstairs. Indoor then processes your dry music track through the convolution reverb recorded exactly as the GUI on screen shows. Indoor is truly a game changer for me working post production.

Spanner offers complete control over each channel in your surround configuration, even including support for Dolby Atmos. The extremely low CPU drag and zero delay compensation gives users with virtually any machine the ability to run hundreds of instances of Spanner in their session. This is a plugin built to work on every computer imaginable.

Slapper is a multi-tap surround delay with truly stunning capabilities. Slapper boasts eight independent taps each with their own delay time, level, feedback and damping controls. Each tap is fully automate-able within the surround field.

One of my favorite things about slapper is the ability to vari-speed individual or groups of taps to create truly monstrous delay sounds. Some mixers I know rely more on Slapper for everyday spatial needs in their mixes than reverb plugins.

When it comes to both upmixing and downmixing, Nugen Audio has become my go-to. One of my favorite things about Halo Upmix and Downmix is their pure simplicity. Just insert Upmix on your stereo track and it turns the track into a 5.1 or 7.1 track as needed. Conversely, you can insert a Downmix plugin on your surround track and that track will become a stereo track.

Luftrausch sounds are captured with a variety of reputable and high-end field mics, including the the Nordic Audio Labs NU-880F, Schoeps CMC6-MK4 and Soundfield SPS-200, and further processed when needed using tools made by the likes of Harpex, Fabfilter and iZotope.

You can listen to previews of all of the REA packs on their website. Like also extended a code to readers: Use the code rabbitscooper at check out for a 25% discount on the Winter Atmospheres or NYC rooftops packs.

Many (most? all?) of the Steinberg plug-ins seem to support 5.1. As @Johnny_Moneto pointed out you can easily check and see for yourself. Below I randomly loaded some different plug-ins on a 5.1 Group Channel, and as you can see they all support 5.1 plus a bunch of other options.

What about the Waves 360 package? Depending on which forum you read, every sound engineer in the industry uses them and they make your song sound like a million bucks, or they are mediocre and nobody uses them.

Please note that the compatibility and functionality of these plugins may vary depending on the DAW you are using23. Always check the specifications and requirements of the plugins before purchasing or installing them. Also, remember that to use these plugins, your DAW must have surround support, which allows you to work with 5.1 sound23.

Please note that to use these plugins, your DAW must have surround support, which allows you to work with 5.1 sound2. Some DAWs have this feature built-in, while others will need to support Dolby Atmos or some external host2.

Please note that the compatibility and functionality of these plugins may vary depending on the DAW you are using123. Always check the specifications and requirements of the plugins before purchasing or installing them. Also, remember that to use these plugins, your DAW must have surround support, which allows you to work with 5.1 sound123.

Those are the main plugins I use for the surround channel/busses and of course the Cubase stock plugins are very handy.

In general I avoid using plugins on a 5.1 busses stage, I try to do the processing as much as possible on stereo/mono bus (for example: snares, kicks, guitars, basses, voice etc. ) and than the sonically ready sound goes to 5.1 bus for stage placement. On 5.1 bus I use only the Cubase bus EQ and on very rare cases I will use limiter or compressor.

For EQ, the Cubase Studio EQ works great. I use Brickwall Limiter as well, with a transparent stereo compressor or limiter or two ahead of that on the mains (typically UAD Precision Buss Compressor or Limiter).

Surround Suite delivers all the control needed to define, enhance and fine-tune your surround mix to perfection. Achieve natural and coherent upmixing from stereo to 5.1 and 7.1 via Halo Upmix, take advantage of ISL's transparent True Peak limiting and SEQ-S's linear phase EQ in surround modes, and complement your surround workflow with Halo Downmix's precise and tweakable downmixing.

With unique centre channel management, including switchable dialog extraction, Halo Upmix is perfect for all types of production from archive restoration and TV through to the full 7.1 feature film experience.

With surround delivery requirements becoming more and more common, a tool like Halo Upmix can be indispensable. Unlike legacy upmixing practices, Halo Upmix offers full downmix compatibility. For those working in Dolby Atmos, Auro 3D and Ambisonic environments, a 3D immersive audio option is also available.

Precise surround control, versatile downmix balancing and mix monitoring for accelerating and enhancing your surround productivity. Halo Downmix is the glue that brings your workflow together, allowing you to deliver in surround and stereo with ease and without compromise.

SEQ-S gives you EQ matching up to 7.1, with stereo mid/side operation and automated spectrum analysis. Automated EQ morphing allows for controlled scene transitions and creative sound design possibilities.

Surround delivery requirements are becoming more common, making a consistent surround workflow indispensable for anyone in post production. Expand your existing stereo and 5.1 mixes with zero artificial reverberation or chorusing effects, tweak and refine with True Peak limiting and powerful EQ sculpting/matching/morphing, and then fine-tune your downmix to ensure the best possible stereo fold-down.

NUGEN Audio is in the process of phasing out some older plug-in formats. Our most recently updated products no longer support 32-bit or RTAS/VST2. Customers who still wish to use these formats can download a legacy installer from the Build Archive.

While the logic meter plugin shows the channels as they are played back in the test file, the juce demo plugin mixes up the channels just as we see it in our plugin. The channel indices returned by AudioChannelSet::getChannelIndexForType which we are using in our code to figure out the channel indices in the processing buffer are obviously mismatching.

Do you hav non-JUCE plugins that you can test in Logic 10.5 (I think FabFilter ProQ 3 supports surround buses, and has labelled input meters)? If other plugins are broken in the same way, this is likely to be a Logic bug, rather than a JUCE bug.

Years ago when I used to use Sony Vegas, I used the Wave Hammer Surround plugin as a sound limiter. It was easy to use and relatively quick. I can't find any plugin as similar as Wave Hammer Surround -- I tried other plug-ins that supposedly have the capabilities but I can't get them to work. Wave Hammer Surround was so ridiculously easy and I am frustrated right now.

You may find some worthy VST alternatives to Wave Hammer at ToneBoosters, Some of which include ATSC/A85 and EBU/R128 broadcast mastering. The guy is pretty nice, as you can run them in demo mode forever.

It seems like meanwhile it's core part of Vegas Pro. I don't have Sound Forge installed on my new system but Wave Hammer Surround is available in Vegas Pro 18. Not sure if it's also available in Movie Studio, though.

I have Vegas 21 installed on my desktop and have used Wave Hammer there, but today, I opened one of my projects that used the plugin on my laptop, and Vegas 21 complained that the Wave Hammer plugin was missing.

@Little_Green_Dog said: "This makes me think Vegas 21, does not come with Wave Hammer. I'm guessing I had Wave Hammer installed on my desktop because I do have an older release of Sound Forge installed there."

Vegas 21 installs Wave Hammer Surround while Sound Forge installs a stereo version, Wave Hammer. The surround sound version will work on stereo projects, but you'll only see two meter channels responding. They are different fX, so you'd possibly have to add the surround sound version if the project was looking for the stereo version from Sound Forge.

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