Professional Analog Mastering.
Professional Analog Mastering.
226K+ subscribers
This is a 1:1 clone of the Sonnox Oxford Inflator.
After testing them, they completely null, as long as they have identical settings, of course.
With JS Inflator, you get everything you’d normally have with the Oxford Inflator.
Variable I/O levels, split band functionality, soft-clipping, and an effect and curve value.
A positive curve introduces more low-level detail, while a negative curve is solely odd-order harmonic distortion.
But why I think this copy is better than the original is the optional oversampling and linear phase processing.
If you want to use this plugin in parallel, then the linear phase mode is a great addition.
You can ensure minimal phase interference between the original signal and the parallel processed one.
Second, the JS inflator includes up to 8x oversampling, meaning I can drive it harder without worrying about aliasing.
With these functions included, I’d recommend this fun trick: send the original signal to a parallel aux track and use a linear phase EQ to isolate the high mids and highs.
Then, with the JS Inflator, enable oversampling and linear phase processing, and aggressively amplify the quieter details of the highs.
You can do this with any range, but I enjoy creating a super dense high-frequency range, usually for pop vocals.
Although I know they null, let’s listen to the original inflator and then this JS inflator with the same settings.
Notice how the sound is identical.
Watch the video to learn more >
Magic 7 is a near clone of the Liquid Sonics Seventh Heaven plugin. Their functions are a little different, with Seventh Heaven having more in the way of additional EQ and some advanced features - but at their core they’re the same.
Both plugins utilize impulse responses from the Bricasti M7 hardware unit. Although impulse responses can be done improperly, it’s really hard to mess it up if you have the right levels set.
With that in mind, Magic7 sounds just as good as Seventh Heaven, just with slightly fewer add-ons.
I really like that Magic7 includes times in the preset’s name - giving me a good idea of the sound before I pick anything.
Additionally, both the duck and ensemble functions work well - the first is a simplified version of Seventh Heaven’s ducking function, which compresses the initial portion of the reverb.
The ensemble/flux function is unique to Magic7 and is a great way to quickly add additional modulation to the reflections.
Low and air offer some basic EQ, and smooth mellows the attack and release of the ducking function
It’s simple, works well, and retains the original sound of the hardware unit.
Let’s take a listen to these back to back, using the same preset, and let me know if you prefer one over the other.
Watch the video to learn more >
Pitchmunk doesn’t look like it would be a good plugin. I’m not trying to be mean, it’s just, you know, look at it.
However, it’s a near 1:1 recreation of the popular little AlterBoy by SoundToys.
In some ways, it simplifies the experience - for example, the 3 modes are replaced by a singular transpose mode.
In other ways, it expands on the original plugin - you might have noticed that a simple filter is included.
But the main selling point for Pitchmunk, aside from being free, is the addition of 2 octaves.
With Little Alterboy, I can increase or decrease the pitch and formant by 1 octave in either direction.
With Pitchmunk, this is increased to 2 octaves in either direction, which is surprisingly useful for either high or low frequency instruments.
Additionally, the drive function sounds just as good, the dials can be linked like in the original, and a mix dial gives you the same control you’d have with the original.
Let’s listen to them back to back and see how they compare.
Watch the video to learn more >
Like JS Inflator, ZL equalizer is a GitHub project in which multiple developers can make notes, adjustments, and influence the final product.
But instead of being a 1:1 copy, ZL Equalizer includes some functions not available with a FabFilter EQ until the release of the Pro Q4.
For one, the dynamic section of ZL Equalizer is a step up from the Pro Q 3.
Whereas I can control the threshold with the Pro Q 3, enable side-chaining, and that’s about it, ZL Equalizer lets me adjust the attack, release, knee, trigger the band with a different frequency range, introduce lookahead, RMS detection, alter the behavior of the attack and release slopes with the smooth function, and include oversampling.
Just like the Pro Q 3, there’s a match function, multiple phase settings, collision detection, independent L/R or M/S processing, variable slope values, and more.
They keep updating this plugin, and it keeps getting better.
The main drawback is that ZL allows for 16 filters, whereas the Pro Q 3 allows up to 24. But honestly, I don’t ever foresee using that many filters on a signal.
Let’s listen to both plugins introducing a good amount of processing and see if we can discern any noticeable difference.
Watch the video to learn more >
Limited Z does a great job mirroring the functionality and sound of the Pro-L2.
The interface could use some updating, but the sound and versatility are what’s important.
Like the Pro-L2, we have multiple modes. Limited Z makes it a point to show how each mode alters the timbre by showing this little graphic above the mode selection.
True Peak or ISP for inter-sample peaking is available, which is great if you’re concerned about distortion.
Auto gain and learn offer a great starting point, but it’s best to make alterations to your personal taste.
Unfortunately, the plugin doesn’t include oversampling, lookahead, and control over the attenuation like the L2, but to its credit, the modes each impart a unique effect on the transients.
To my ear, the Pro-L2 still sounds a bit better, but let’s listen to both attenuating the same source and to the same extent. Let me know which one you prefer.
Watch the video to learn more >
If you don’t want to pay the subscription or update fees for Waves Audio plugins, which is fair considering they haven’t improved anything in years, Analog Obsession is a great alternative.
Some of the notable ones include LALA to replace the CLA2A, and Fetish to replace the CLA76.
A lot of companies recreate these units, but these are by far the best sounding free options.
This next bonus might seem weird to some, but TinyQ reminds me a lot of Ableton’s EQ. They feel very similar, so if you’re having to work in Logic or ProTools and you miss Ableton’s stock EQ, this might help out.
Lastly, I was excited to try this VocalRider from developer Diego Ortega, but I had trouble getting it to run in Logic. The stand alone application is working, but hopefully it’s updated soon, since this looks like a great free alternative to Wave’s Vocal Rider.