Currently, there are many extra plug-ins for Vegas. Some of them are paid while others are distributed for free. It is rather difficult for the developers to meet the requirements of all users. With this in mind, they allow third-party developers to fulfill these suggestions by creating plug-ins.
Some Sony Vegas Pro plugins listed below are created by enthusiasts, while others — by large companies engaged in software development. Check your email to download freebies.
LUTs are widely used in video editing. Even professionals use these tools for fast and high-quality video color grading. Download our collection of LUTs, and you will get several universal color solutions for any type of footage. Nevertheless, you can do it with the help of the latest versions of the Magic Bullet Looks plug-in. This Sony Vegas plugin includes more than a hundred different presets divided into ten categories.
The developer claims that this tool will be useful for almost any project, whether it is a wedding video or a video presentation for work. This is a mini-program for flexible and highly effective compositing and creation of special effects. Wax allows you to create 2D and 3D effects and can work both as standalone software or a Vegas plugin.
This is a package of awesome video filters that includes over great effects for video editing. You can work with multiple categories, such as lighting, stylization, sharpness, distortion, and transition settings. While many of the benefits of these tools can be found in cheaper software, the added top level of quality, speed and efficiency is a need reserved for a select few.
If you are an audio engineer, you likely know all about Waves plugins. The intelligent plugins are their newer tools that use advanced DSP logic to differentiate between signal and noise, allowing you to dial in the threshold and, in the case of W43 and WNS, adjust that threshold for multiple bands to dial it in a bit more.
The greatest part of their intelligent plugins is that they work really fast, with almost zero-latency. This means you can throw it on your audio track and not lose sync , which can be a huge time saver. The software gives you a spectral view of your audio, advanced selection, brush, clone yes, clone stamp for audio!
Spectral Layers is all about manual control, and if you know how to view the spectrogram to find sound, and use the tools to manipulate it, you may be just as well off with this software.
Soundsoap from Antares yes, the auto-tune company has come a long way since it was owned by BIAS pre and has made itself one of the simplest, fastest and cheapest options for noise reduction. If you are looking for a more specific set of repair tools, you might want to look into Zynaptiq.
Since its inception, this company has been focused on making tools that nobody else has made before. For their audio repair products, they offer the following tools:. Un-Veil: learn and reduce the effects of natural reverb in recordings. While not perfect, they do work surprisingly well considering the mathematical engineering feats required to create tools like these.
Worth checking out if you have the money. As far as I could see, only the Wave Hammer plug-in is currently supplied in a format compatible with surround. This provides both compression and volume maximisation for a six-channel audio file, and therefore could be useful for some basic mastering of a surround sound project.
The plug-ins within the Izotope mastering suite described more fully below are designed for use with mono or stereo files only, although it is, of course, possible to apply them to individual channels or pairs of channels within a multi-channel audio file. One of the highlights of the latest release is undoubtedly the inclusion of four 'mastering' plug-ins from Izotope.
SOS readers will be familiar with Izotope through their various plug-in effects, such as Trash and Vinyl , and their flagship mastering suite Ozone. When working with mono or stereo files, the individual plug-ins can, of course, be linked together using the SF Plug-in Chainer.
With the exception of the multi-band compressor, the operation of these three plug-ins is relatively straightforward.
There is on-line help available via the question-mark icon in top right of the SF plug-in window, and this would be essential reading for those not familiar with Ozone.
Each is supplied with a useful range of presets and these also make a good starting point for new users. Multi-band Compressor features a rather pretty multi-coloured spectrum display that provides information on each of the four bands. The crossover points between the bands can be adjusted, and the roll-off between one band and the next is indicated by the blending of colours for the two adjacent bands. Alternatively, the display can be switched to a 'global' mode which is similar to the default display in Ozone 's multi-band dynamics section.
Unlike Ozone , this is a compression-only processor — Ozone features limiting and expansion in this section, but these are not replicated here. Similar simplifications exist in the other plug-ins. For example, there are fewer bands in the Mastering EQ plug-in than in Ozone but, overall, there is still plenty of scope here for both corrective and creative mastering work.
For those that want to make their mix a little hotter, a combination of Multi-band Compressor and IRC Limiter will certainly do the business. CD Architect 5. Sony's CD Architect was already at v5. My only previous serious engagement with CD Architect was, however, prior to version 5 and, while I've always used SF for my routine audio-editing work, I've tended to use Wavelab 's excellent Audio Montage functions for compiling CDs.
I took another look at CD Architect as part of this review, and it is certainly a well-featured application. Highlights aside, there are all sorts of other modifications and additions to Sound Forge 9. As mentioned earlier, it is now possible to drag and drop material between channels within a single audio file.
This works very well, and the user has considerable control over how the 'dropped' material merges with or replaces the existing audio on the destination channel. Material can be copied in this way from multiple channels if required. SF9 also includes some useful new metering options.
For example, the Phase Scope meters can be added to either the Channel Meter or Hardware Meter views, and four different display types are available. These would, of course, be very useful for spotting phase problems in recordings made using two or more microphones. While the PDF manual doesn't really go into much detail on how these meters should be used, the on-line help within SF9 itself does provide some guidance, fortunately, and includes some simple examples of what the meters might look like if phase cancellation problems are present.
Also useful is the simple, but effective, Mono Compatibility Meter. This can also be added to the Hardware Meter or Channel Meter views and can detect when phase cancellations between channels in a file will cause a problem if the file is replayed in mono. In addition, the Spectrum Analysis tools — which were already impressive within SF8 — have now been enhanced to deal with multi-channel audio.
All sorts of minor enhancements have been made to the user interface, including more options for customising colours and layout.
However, two of the more significant improvements are a reworking of the way markers and the ruler can be used, and more flexibility in moving between the waveform and effects windows while previewing and adjusting effects that are to be applied.
One other detail is worth mentioning. As in the current version of Vegas , when ripping tracks from a commercial audio CD, SF9 now uses the Gracenote MusicID technology to obtain information about the contents of the CD and the track details. It is very difficult not to be impressed by Sound Forge 9.
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