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This can mean better performance versus third-party effects, which is especially true with current versions of Final Cut Pro and macOS.

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However, DAWs and NLEs also install their own native effects that are only available within that single application. This means that you can use the same effect in multiple host applications. Instead, they classify these as “inspired by” certain musical eras or genres.Īudio plug-ins are installed using one of several protocols, including AAX, AU, and VST/VST3. Nowhere does Logic actually call it a Marshall or a Vox, because Apple hasn’t licensed the exact circuits from the original manufacturer. If you want to use a Vox or a Marshall guitar amp filter, simply pick the one that features a similar faceplate. Apple Logic Pro has a wealth of effects that are emulations.

If you know the real device, then you’ll know what that plug-in can be expected to sound like. The skeuomorphic interface is designed to look and feel like that gear. It might be dead-on or it might only be reminiscent. The other development approach is to reverse-engineer the sound of that physical gear and release a plug-in that emulates the sound. An analog-style filter that has been designed to emulate certain models of peripheral gear will not be transparent if you try this same experience. Then, if you apply a second instance of the EQ and cut (lower) that same frequency by the same dB and Q values, the two should cancel each other out and the signal should sound unaffected. In theory, you should be able to take a digital-style EQ and boost a frequency by a given amount and Q value (the width of the effect around that frequency). Tonal color is often created by how the audio is processed, such as the slope of the attack and release characteristics when the filter begins to affect the sound. However, analog-style emulations are designed to mimic the tonal qualities of classic outboard gear or of channel strip circuits built into analog consoles like Neve and SSL.

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Naturally, since these are software plug-ins, the processing is actually digital. The other group is considered “analog,” because these filters are intended to emulate the sound of certain analog processing equipment. One group could be described as “digital” and is intended to process audio in a transparent fashion without adding tonal color on its own. Or are they?Īudio effects typically come in two flavors.

These tools let me shape the mix and control levels.Īll audio plug-ins are the same. Other than some clean-up processing (noise or reverb removal and so on), my most frequently used effects are equalization and compression. Since a lot of what I do is corporate in nature, the mixes are relatively simple – usually voice and music with a minimum of sound effects.

So clean-up tools like iZotope RX have been quite important. Quite a lot of my recent edit jobs worked with source material from Zoom calls and self-recorded smartphone video – all with marginal audio quality. That’s been very important in this past year with restricted production activity. I personally use various Accusonus and iZotope effects on my work, most often for audio clean-up. Numerous audio effects have been highlighted in previous posts. For this and the following three posts, I’ll focus on some thoughts pertaining to what video editors should know about commonly used audio filters. After all, audio is at least 50% or more of most video projects. So it’s worth understanding what you have at your fingertips. Every NLE includes a useful complement of audio filter effects (plug-ins) that can also be augmented by a wide range of third party options. But often it’s something many video editors don’t know much about. Audio mixers and audio editors who spend their time at the business end of a DAW certainly have a solid understanding of audio plug-ins.