Audio plugins

Lets explain what an audio effects plugin is, what are its disadvantages and advantages compared to analogue effects processors, which are its main features and what to keep in mind when purchasing.

Plugins are applications that are added to the main audio program (a multitrack or an editor) to bring new sound processing capabilities, either in the form of an instrument or effects processor. In this article we will discuss the effects processors plugins, but most things said are extensible to instrument plugins.

Effect plugins emulate existing effects in the traditional analog recording studio (compressors, EQs, reverbs, etc.), but also do things that can only be achieved in the digital domain (pitch and tempo shifters a, harmonizers, noise eliminators, MIDI converters)

The plugin compared to the real stuff

There is much debate about whether the plugins can replace their hardware equivalents, as its said that analog processors have better sound, but maybe that’s because a matter of custom or tradition (just as some say that electronic valves sounds better that the solid state).

What everyone agrees on is that the really important in getting a good sound are the engineer’s skill and experience in the management of processors, analog or plugins, accompanied by a good listening room and good speakers.

When choosing one of the two types of processors, we must consider other advantages and disadvantages. The plugins advantages are that they are cheaper, are easier to insert and move within a chain of effects, save their configuration with the main program file, occupy no space and do not need wires. Instead an analog set is more ergonomic and accessible and is never outdated. Depending on the importance given to each feature we will chose one or the other.

Formats

Companies that implemented the first multitrack software were who established “languages” or formats that have come to be standard in the plugins industry: Digidesign’s RTAS format, Steinberg VST format, Apple AU format, etc..

The same plugin can exist in different formats and operating systems producing exactly the same sound. Instead each multitrack or editing software allows the use one, other or several formats. For example: Digidesign ProTools only allows RTAS, while Ableton Live allows to use VST and AU.

For these three formats (VST, RTAS and AU) we can find the most variety of effects. With them is covered almost the entire range of computers, operating systems and programs. There are also applications that allow to adapt formats, so that you can use any format on any computer and on any software.

Additional Hardware

Depending on the plugin developer, you may need to have additional hardware for operation. This may be to achieve two things: to work with a dedicated processing hardware for the plugin (DSP vs. HOST) or to prevent illegal copying of software plugin (USB key, “dongle” or iLock). Otherwise, there are independent devices dedicated to the use of plugins without the need for computer.

Other features for the selection of plugins.

To perform the same task can be found plenty of brands, models and even versions of plugins with prices ranging from free to hundreds of dollars. In addition to the format and the need for additional hardware, there are other features that can make a plugin more interesting than another.

Fortunately all manufacturers offer trial versions for a suitable period of time, so we can assess whether the plugin suits us or not. We should also consider plugins including a chain of effects in one.

Not to mention the sound quality should be the first to appreciate a plugin, that is, whether we like its particular sound or not, we must consider the following list of important characteristics of a plugin.

• Accuracy: The accuracy of mathematical calculations performed by a plugin will determine how the sound is approaching its analog equivalent. Since Bob Katz said in 2002 that a plugin that worked with 64-bit floating point could not be distinguished from an analog processor, plugins have matured and improved their sound, and also have been appearing computers with 64-bit microprocessors. The 32-bit plugins can produce a great sound, but if we want to ensure internal accuracy, we must look for those working at 64 bits for both 32 or 64 bits computers.
• Latency:  time from the source until the sound reaches our ears must be less than 11 milliseconds. In the plugin manual usually appears its latency expressed in number of samples. There are also programs to measure this value.
• Plugin parameters: number, range and precision: For example, is not the same a compressor that has a frequency filter than one that does not. There are equalizers range from 20Hz to 20kHz and others from 20Hz to 22kHz, some of which Q value has 0.5 leaps and others has 0.1.
• Graphic interfaces, ergonomics and appearance: handling plugin with the mouse by clicking and dragging or by entering numbers with the keyboard is worse than using the middle mouse wheel and arrow keys. The size and location of the various controls and the graphics can also have their importance in deciding.
• Other observations: the availability of factory presets and ease when storing. Also have to watch that there are no programming errors.

Conclusion

I hope this little guide about plugins can help decide on the use of them and choose the option that best fits your budget.