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Ns1 Wave Plugin Download Vst - DOWNLOAD 5f91d47415 Waves Audio - Official SiteWaves is the leading developer of audio plugins for mixing, mastering, post production and live sound, with plugins for Pro Tools, Cubase, Logic and other DAW audio.NS1 Noise Suppressor Plug-in SweetwaterOnly at Sweetwater! Nov 14, 2018 64-bit 2018 2019 analog au bass best DAW delay Download easy Editor edm eq fm free free. download full fx help high sierra hip hop izotope MAC mastering microsoft mixing mojave native instruments os x osx plugin Plugins release reverb sine sound design studio synth synthesizer techno trance vst windows working. Waves Noise Suppressor (WNS) by Waves (@KVRAudio Product Listing): The first in the new line of dedicated Waves Post Production tools, the WNS Waves Noise Suppressor is a real-time multiband processor for fast and effective broadband noise suppression on dialog tracks. Suitable for both indoor and location recordings with constant or modulating environment noise, WNS delivers superior sound. Nov 13, 2012 Listen to demos of the Waves NS1 Noise Suppressor, an automatic noise suppression plugin that differentiates between dialog and unwanted background noise.

Having trouble getting rid of noise in your audio, but don’t have the cash to spare for a payware noise reduction plug-in?

You might find what you need in this selection of the best free noise reduction plug-ins available. You’d be surprised that they’re capable of what they can do, with a variety of functions that can deliver performance that is at least equal to that of their paid counterparts.

Let’s take a closer look!

Free Noise Reduction Plugins

Also check out our Top VST Plugin Roundup

ReaFIR by Cockos

Cockos is known primarily for Reaper, an excellent shareware–practically freeware–DAW that can stand toe-to-toe with the best fully-fledged DAWs costing hundreds of dollars more. Voloco auto tune harmony mod apk minecraft. The company also has a line of very capable plug-ins, one of which is the ReaFir dynamics processor.

Specs and useful features

An FFT-based plug-in, ReaFIR is a dynamics processor that pulls off some need tricks. The “FIR” in the name stands for “Finite Impulse Response”, which refers to a variety of functions revolving around FFT spectrum analysis.

Most of these functions have to do with EQing and dynamics processing, both of which are typically employed in noise reduction circuitry. But ReaFIR can do more than clean up hissy signals. It also serves as a gate, a compressor, and a dedicated EQ. It is especially capable of precise EQing and compression, so you could expect to get much more use out of it than from most any noise reduction plug-in on the market.

User impressions

Unsurprisingly, many users found ReaFIR to be more effective at removing noise than many other dedicated noise reduction plug-ins. The onboard features makes it a very capable and versatile EQ that can be used for ultra-precise sound shaping and even for mastering. In fact, many users have found it to be useful at various stages of the production and mixing processes.

Bottom-line

ReaFIR stands apart from most other noise reduction plug-ins with its wealth of pro features and flexible capabilities. Even if this were a paid plug-in, we would still recommend adding it to your arsenal of sonic enhancement tools.

Redunoise by Voxengo

Voxengo Redunoise is a high-resolution noise reduction plug-in that provides a wide range of controls for reducing and eliminating noise. A comprehensive noise reduction system that goes beyond the capabilities of your average noise-ridding plug-in, it is a versatile solution that should find many uses in your productions.

Redunoise is especially effective at dealing with noisy single tracks, although it will work on full mixes as well. Results are always musically pleasant, which is rarely the case with broadband noise reduction solutions.

Specs and useful features

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High-resolution spectrum analysis is the key to the effectiveness of Redunoise. This feature precisely identifies the offending area of audio material, enabling the plug-in to eliminate it without affecting the rest of the signal.

Redunoise comes with two flavors of filtering: analog-prototype and linear-phase. Between these two, you can handle pretty much any flavor of noise, from fairly simple hisses to more complex noises that cover different bands of the audio spectrum. There is even a noise learn function for quick and easy cleanup of audio material.

User impressions

Redunoise has found plenty of avid fans among those that routinely work with outdoor recordings. Useful for reducing many types of background noise, the plug-in is also effective at separating sounds according to frequency range.

Surprisingly, some users found Redunoise to be quite an effective EQ unit. With its many controls suited for creative EQing, Redunoise is way more than just your run-of-the-mill noise reduction plug-in.

Bottom-line

Redunoise is a versatile noise reduction plug-in that has some surprising tricks up its sleeve, particularly in the realm of creative EQing. Although it is free, it definitely measures up to even some of the best payware offerings available.

Sound Recovery by Bitsonic

If you have ever had to struggle with restoring signals from poorly recorded or severely degraded audio, Bitsonic Sound Recovery might be exactly what you need, and for free. It’s designed specifically for repairing extremely low-quality audio.

Sound Recovery fills a gap in the audio editing world that most EQs and noise reduction systems simply cannot fill. With a unique set of features onboard, this plug-in should find value among audio restorers and even forensic professionals.

Specs and useful features

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Sound Recovery essentially recreates mid-frequency content from low-frequency harmonics. By adding subtle levels of harmonic distortion, this process makes audio clearer and more understandable, even with most of the mid-frequency content missing.

Sound Recovery also has a multiband denoiser feature that makes it a very capable noise reduction solution. Effective at reducing the noise from the low-mid and mid-high frequencies, this provides a much more subtle alternative to heavy-handed EQing that often thrashes the entire audio signal.

Other features let you further restore audio with depth and precision. The “split freq” feature lets you define the most troublesome frequency range, while the dedicated “recovery” feature adds even more distortion for enhanced clarity.

User impressions

Sound Recovery is a fairly capable noise reduction plug-in. The low pass filter and the denoiser feature effectively reduce noise in a broad range of frequencies. But most users seem to use the plug-in for restoring lost audio content, which is hardly surprising given its capabilities in that area.

Bottom-line

Sound Recovery might not be your first choice if you need a comprehensive range of noise reduction features. But if your focus is on restoring the intelligibility of recorded audio, this plug-in is a must-have.

Noise Reduction by Christian Budde

Christian Budde Noise Reduction is a spectral noise gate designed for removing unwanted noise from a variety of audio sources. By targeting specific frequency ranges, its spectral gate effectively filters out noise with a fair degree of customizability over attack and release times.

Specs and useful features

Noise Reduction goes beyond the capabilities of most spectral noise gate plug-ins by offering a good range of customization options. The soft knee control is fully adjustable over a very wide range, so you can avoid many of the sonic anomalies that other spectral noise gates impart to audio material.

The plug-in comes with a few different options for FFT sizes, and you could even choose from many window functions.

Noise Reduction sets itself apart from other plug-ins of its kind with its continuous and consistent characteristic. The plug-in’s various features let you clean up only the offending bands of noise without introducing artifacts that are often more bothersome than hissing and crackling.

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Noise elimination plug-ins generally have low CPU requirements, but Noise Reduction places especially low demands on computer resources. You could easily strap on as many instances as you need for your various tracks, and still have enough CPU power for your other plug-ins.

User impressions

Users found Noise Reduction to be effective at getting rid of noise from problematic soundboard recordings and audio transferred from tape. For many users, the ability to identify the noise from a quiet section of audio is useful for treating the rest of the material.

Bottom-line

Like all plug-ins of its kind, Noise Reduction is most effective when used sparingly at moderate settings. It won’t win any awards for precision and total control, but it will be enough to get the job done in most cases.

FFT Tools by Smart Electronix

Smart Electronix FFT Tools turns to the graphics world for inspiration in dealing with unwanted noise in audio material. Based on the image-processing technique employed in graphics programs such as Adobe’s Photoshop, it utilizes spectral-based processing along with a slew of intriguing features.

FFT Tools makes it possible to clear out the hash from specific audio frequency ranges while leaving the surrounding frequencies unscathed. The plug-in can also be used to warp sound in numerous interesting ways, many of which go beyond the capabilities of even dedicated sound-mangling plug-ins.

Specs and useful features

One of the most intriguing features of FFT Tools is “Warp”, which swaps high and low frequencies with each according to a defined frequency band. The results can be pretty wild, to say the least, although moderate settings can produce more musical results.

Noise reduction functions are mostly handled by the “Levels” feature, which gives you a good degree of control over the spectral dynamics. This feature lets you liven up dull audio or remove background noise equally well.

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FFT Tools also comes with a “Kontrast” control for saturating specific bands of the frequency range. If more robotic sounds are your thing, the aptly-named “Robotizer” should find plenty of use in your productions.

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User impressions

Most people seem to use FFT Tools for generating weird textures and alien-sounding sonic landscapes. Although it does a decent enough job at noise reduction, it seems better suited for creative sound design than cleaning up noisy material.

Bottom-line

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FFT Tools probably won’t be the first thing that comes to mind if you need to clean up noisy audio. Although it will work as a noise reducer in a pinch, this plug-in is more useful as a tool for generating unusual sounds and textures.

Waves are the latest manufacturers to try to package the sound of large-format mixing consoles in plug-in form.

Download Waves Mercury V11 Full Bundle Over 165 plugins and more than 400. Download VST Free Waves 11 Full Bundle (Win) Waves Mercury V11 Free Download (Mercury, SSL, Abbey Road, MultiRack) Download link at the end of the page. 165 plugins and more than 400 components, From Waves in one package. NLS Non-Linear Summer; NS1 Noise. Waves modeled over 100 individual channels in all, capturing the unique color, character, and behavior of each and every input and summing bus amp. NLS delivers the richness, depth, and harmonic complexity that only analog gear could deliver – until now.

The first choice for Grammy-winning mixing engineers, music producers, musicians and sound designers, Waves is the world-leading maker of audio plugins, software and hardware for audio mixing, music production, mastering, post-production and live sound. NLS Non-Linear Summer by Waves is a Virtual Effect Audio Plugin. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin, an RTAS Plugin and an AAX Plugin. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin, an RTAS Plugin and an AAX Plugin. NLS Non-Linear Summer by Waves is a Virtual Effect Audio Plugin. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin, an RTAS Plugin and an AAX Plugin. Download Waves Central to install and activate the latest version of Waves plugins, bundles and applications.

The NLS plug-in interface changes to reflect which of the three consoles you've chosen. Here, the NLS Channel plug-in (left) is in its SSL guise, while the Buss plug-in is emulating Mike Hedges' vintage EMI TG-series desk.

In recent years, a flood of distortion and saturation plug-ins has appeared, claiming to bring more 'analogue sound” to your productions. The latest craze is to model the behaviour of vintage analogue mixing consoles. But what is it that's so special about mixing consoles? Well, many users claim that they add a certain richness, depth and harmonic complexity that tend to be beneficial in music production.

Waves asked three very well-known engineers to lend them their analogue mixing consoles, in order that their programmers could analyse each desk's non-linear behaviour and unique sound. Mark 'Spike' Stent has been using his SSL 4000G for more than 20 years and calls it 'The Magic Console', thanks to its special sound. Mike Hedges salvaged the pieces of an EMI TG12345 Mk IV from the garage of Abbey Road Studios and was able to put it back into working order (only two MkIV consoles were ever made, and both are still in use). Finally, Yoad Nevo took two classic Neve 5116s and had them custom-built into one very impressive console the length of a living room.

The Waves NLS suite ('non-linear summing') consists of the NLS Channel and the NLS Buss plug-ins, and is available for Mac OS and Windows, in TDM and all the usual native formats. To mimic the performance of a mixing console, NLS Channel is meant to be put on the last insert on each channel and NLS Buss on the first insert of the master bus. The NLS channel plug-in can also emulate the distortion created by sending a line-level signal through a console mic preamp and cranking the level — still a popular mixing trick — and in this scenario, the Channel plug-in should be put on the first insert.

Channel & Buss

The Channel interface is pretty self-explanatory, and the three consoles available are aptly named Spike, Mike and Nevo. A cool feature is that 32 different channels on each console have been measured and modelled to mimic the subtle channel variations on the consoles. By default, stereo channels consist of two channel variations to emulate setting up two hard-panned left and right mono channels on the console; however, purists can click the Dual Link button and use the same channel variation on both channels. The Drive knob adds harmonic distortion by increasing the input signal and decreasing the internal headroom; at lower Drive levels the distortion is quite subtle, but at higher levels the added distortion can get quite intense. The character of the added distortion differs quite a bit between the three console models, but more on this later. The Drive function has built-in gain compensation, and normal level-control duties are carried out by the Output fader. The Mic Mode button adds gain compensated distortion by emulating a 20dB gain-clipped console mic preamp, which, of course, sounds different in the three console models. True to the analogue consoles, noise is added by each channel, but can be removed by pushing the Noise button, while the Bypass button deactivates analogue harmonics, noise and frequency-response effects.

The NLS Channel plug-in can be controlled individually or by one of the eight available VCA groups. Grouping related signals such as drums, guitars, vocals and so on to different VCAs makes it a breeze to control the amount of Drive and level of each group. The VCA Group Console section can be accessed by clicking the VCA Tab button on any channel or by opening the section in the NSL Buss plug-in. The nice thing about the VCAs is that you can both raise and lower the Drive, as well as changing the console model for the whole VCA group, which makes it easy to change console model on the drums from, for example, Spike's SSL console to Mike's EMI console. It's also possible to automate the VCA Groups, effectively using them like VCAs on a real mixing console.

The two VU meters at the top of the interface give a fairly good level indication, and they are faster than a real VU meter, which I think is appropriate in a digital system. Introducing non-linearity in a DAW certainly makes it more important to keep track of the levels, because hot levels will increase harmonic distortion.

The Buss plug-in models the master section of each console, and changing the console model here will only change the master section, so it's possible to mix Neve channels with an SSL master section or vice versa. The Drive knob adds harmonic distortion on the whole mix — or whatever is sent to the Buss plug-in — and the Trim knob is essential to keep track of the output level. By using the VCA Group knob, the plug-in settings can be controlled by the VCA Group console, which is useful when several NLS Buss plug-ins are used at the same time. The Noise button here adds or removes the noise contributed by the master section but doesn't remove noise added by the channel plug-ins.

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The third mixer modelled is a Neve belonging to producer and engineer Yoad Nevo.

To get a grip on what the plug-ins and console models really sound like, I decided to try them on a couple of different instruments. First up were drums. To simulate a real mixing situation, I created a group track and added an NLS Channel plug-in in Mic Mode, so I could send some of the drum tracks to it for additive distortion. Starting with the SSL console model, I cranked up the Drive setting quite a lot just to hear what happened; the automatic gain compensation only helped a bit, and I needed to bring down the output about 3-4dB at full Drive to match the levels of the untreated tracks. On a rather thick and snappy kick drum, the effect was quite subtle, just cutting away some sub-bass and compacting the sound a little bit. Switching to the Mike console produced a very different result, boosting the low end by several decibels and at the same time softening the mid-range transients, resulting in a very respectable kick-drum sound indeed. The Nevo console pretty much kept the low end intact and added just a little bit of upper mid-range.

Changing to snare drum, the Spike console added some mid-range bite at the expense of some transient smearing, but the Drive setting was all the way up and a similar thing would probably happen in the analogue console as well. The same setting in the Mike console produced a rather grainy sound indicating less headroom; at a Drive setting of 9, the snare drum thickened up a little bit and got some mid-range graininess that sounded rather nice. Finally, the Nevo console beefed up the snare drum, enhanced the mid-range a little bit and subtly rolled off the high end.

The three console models certainly have their own specific sound: I'd say that the Mike console is the smoothest-sounding, the Nevo the most transparent-sounding, and the Spike console the one with the most bite. On these particular drums, I liked the Nevo console the best because it kept the original sound but slightly enhanced it.

On a fairly well-recorded bass guitar, the Mike console, of course, added some nice low-end, but when level-matched, it scooped out some mid-range as well. The Nevo console sounded pretty much the same as the unprocessed bass, while the Spike console cut out some sub-bass and squeezed the low end a little bit, gaining some extra headroom compared to the two other console models.

I'm rather picky about what kind of distortion I use, and how much, on vocals, because naturalness and intimacy tends to go out of the window with too much added distortion, especially digital distortion. With a healthy input level and just a bit of extra Drive, the Waves NLS plug-in sounded rather nice; the Spike model added some extra mid-range, while the Nevo opened up the upper mid-range. Each console model has 32 different channels modelled, and it's quite interesting using the two arrows at the top of the user interface to step through them. On vocals, the difference can be quite audible, especially on the Mike model, the oldest mixing console of the trio. If you commit to using NLS, it's definitely worth trying the various modelled channels within each mixer as well as simply swapping between the mixers.

In The Mix

Having tested the Waves NLS plug-in as a tonal shaping tool, it was time to use it in a mixing situation. Setting up a basic mix using the Spike model was fairly easy, and whenever I needed some extra mid-range bite, I'd crank up the Drive knob. Being able to distort everything at a turn of a knob initially made me do exactly that, just because I could, and the Drive knobs in the VCA Group console came in handy for backing off the Drive again. It's worth having some extra headroom compared to mixing straight in the box, because when the channel count adds up, and harmonic distortion as well, it's nice to be able to push some instruments without adding too much distortion.

One thing I noticed about the Spike model was that the low-end punch didn't come across the way I wanted, having worked on several SSL consoles, but I'd say the mid-range bite is spot on. The Mike model is definitely the odd one of the three and can be quite fun to work with, but also a bit cumbersome, thanks to the low-end boost it applies to everything. Personally, I like the Nevo console model the most, simply because it's the most transparent of the trio.

Although I don't have a large analogue mixing console directly comparable to the ones modelled in the Waves NLS plug-in, I still wanted to test how 'real' the plug-in could get in terms of emulating analogue summing, so I fired up my hybrid system, consisting of high-quality digital converters and an Inward Connections Mix690 20-channel summing box — a discrete design with large output transformers — and matched the levels. The Mix690 is, of course, a totally different beast in sound and design from any of those modelled by Waves, yet, like a good analogue desk, it provides a great way of 'glueing' a mix together.

Comparing the DAW mix to the analogue mix, I wasn't able to get quite the same 'sounds like a record' feeling with the Waves NLS plug-in. The sound was tight and up-front, but didn't gel in the same way as it did with the Mix690. Measuring the plug-in, I discovered that it doesn't seem to add any crosstalk — interaction between channels — whereas the Mix690 has a crosstalk of about -50dB between the left and right output channels. I believe that crosstalk is one of the factors that help glue a mix together, and it would be interesting to hear how the plug-in would sound with crosstalk modelled. Another difference is the way the mix bus breaks up when the output level is really pushed: an analogue mix bus with output transformers can saturate the low end, creating a humongous bass but at the same time squeezing the transients quite a bit. Pushing the NLS Buss plug-in hard produced a hairy kind of distortion somewhat lacking in warmth, so the outputs are best kept at a normal level.

I do think that Waves NLS brings something to the table, because it definitely makes mixing in the box more fun and more interesting. Most rewarding is the way the mid-range opens up, whether you're applying subtle or crunchier distortion. Working in a non-linear system makes it important to keep track of levels and decide how hot the signals should go; this approach might be new to laptop jockeys used to working in-the-box. Only you can decide whether or not it's suitable for you and beneficial to your productions; luckily, there is a seven-day demo available at the home page, and with the new Waves License Center, iLoks are no longer needed, so go grab yourself a digital analogue mixing console or three!

Alternatives

There are a few alternatives, Slate Digital VCC being the closest contender in terms of features and console models, and it even simulates crosstalk between bus channels. Compared to Waves NLS, my opinion is that Slate VCC performs better in the low-end department but has a tendency to narrow the stereo panorama just outside the phantom centre — then again, some might call that focusing of the centre signal. Another interesting plug-in that is definitely worth a try is Sonimus Satson, which, at $39, can glue a mix together almost as well as an analogue summing box. Sknote Stripbus, Airwindows Console2 and Nebula3 with its console libraries are other interesting plug-ins that can be put to the same use.

Pros

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• Interesting tonal-shaping tool.
• Makes mixing 'in the box' more rewarding.

Cons

• Analogue crosstalk not emulated.
• Distorts pretty easily if levels aren't aligned properly.

Summary

Waves NLS brings non-linear behaviour into the digital realm by mimicking three legendary analogue mixing consoles.

Test Spec

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• PC with Intel Core 2 Quad 2.4GHz, Asus P5B Deluxe motherboard with Intel P965 chip set and 4GB DDR2 RAM, RME RayDat soundcard, Windows 7 Ultimate 64-bit.
• Tested with Steinberg Cubase 6.53.

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1. • Got it working Win7 . Yes it works in Windows 7 .
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     During install , it will look like nothing is happening , like for a long time…10 minutes to an hour …stilll looks like nothing is happening . YOU HAVE TO WAIT , and WAIT until the last couple stages are done …after you see a small window that says ,… deleting extracted files and then this window will disappear. Now your done with install . Restart your computer . Enjoy.

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4. working but the pianos cant find its file !!! can someone help ?

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7. I’m downloading right now but it’s too slow T.T

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14. Will this installation collide with an already installed Waves Central? Or should steps first be taken to avoid probs? THanks!

15. Does this bundle comes with CLA Mixhub & Abbey Roads TG mastering chain? Thankz…

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