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Mixing vocals is one of the most important jobs in music production. To do it well you’ll need a handful of quality plugins.

Today I show you 2 ways how you can create digital harmony vocals in 5 minutes in any DAW!FREE PLUGIN I USED: https://www.auburnsounds.com/products/Graillon. Autotune Plugin Logic Pro X 5. X42 Auto-Tune X42 Auto-Tune is a simple autotuner based on the zita-at1 by Fons Adriaensen. It's much better if you use it as a light tonal fixer over a full-on robotic autotuner. It works by resampling the material fed into it and then looping the signal.

But if you’re on a tight budget you’re probably looking for the best free vocal plugins that won’t break the bank.

Luckily there are plenty of vocal mixing plugins you can download at no cost from generous developers.

Vocal processing is a delicate task that requires a few different plugin types for a polished sound.

In this article I’ll walk through each one, explain why it’s important and recommend the best options to download for free.

Here is the essential guide to free plugins for vocals.

1. Vocal tuning plugins

Vocal pitch correction has become an important part of modern vocal production. Before you even start mixing you might need to use this plugin type to refine your vocals and get the right sound.

Whether you’re after subtle performance enhancement or dramatic T-Pain effects, it’s worth having a good vocal tuner in your plugin folder.

Here are some free options to consider:

Auburn Sounds Graillon

Auburn Sounds Graillon is a live vocal changer that can transform vocal timbre and create robotic hard tuning sounds.

The free tier gives you access to a stripped down version of the paid plugin with pitch shifting and pitch correction.

Melda MAutoPitch

Melda MAutoPitch is another automated pitch correction option with a simple interface. This one is capable of some more subtle effects as well as classic hard tuning.

Voloco

Voloco is probably the simplest vocal tuning plugin out there. Choose the key, scale and tuning type and adjust the intensity with the correction amount.

Hot tip: Vocal pitch correction is one of the few plugin types without a full-featured free alternative. If you can stretch your budget slightly, Auto-Tune Access is the cheapest version of Auto-Tune ever.

2. Vocal EQ plugins

Once you start working on balancing the vocal in your mix you’ll need a good equalizer plugin.

This is the plugin type you’ll use to clean up issues and sculpt the frequency balance so your vocal sounds more pleasing in the mix.

But pro vocal chains often include more than one EQ. That’s why I’ve listed a few options that each play different roles in a mix:

TDR Nova

TDR Nova is a sophisticated digital-style EQ for surgical sculpting and problem solving.

This type of EQ might appear first in your vocal effects chain if there are any frequency issues that need to be resolved before other mixing tasks.

If you need to clean up excessive low end, reduce resonances or soften clicks and artifacts, TDR Nova is a perfect choice.

Ignite Amps PTeq-X

On the opposite end of the spectrum, Ignite Amps PTeq-x is an analog style EQ based on the analog Pultec EQP-1A hardware.

This legendary vintage equalizer is many engineer’s first choice for vocal sculpting. Its gentle and musical curves are perfect for adding character, sparkle, or midrange cut.

Hot tip: Vocal EQ plugins are often used in different positions in the signal chain. Character EQ like the PT-EQx should go after any dynamics processing you choose to do—more on that in the next section!

Analog Obsession Britchannel

Another classic processor many pro engineers use on vocals is the legendary EQ found in Neve mixing consoles.

Analog Obsession Britchannel brings a 1073-style channel to your DAW, complete with preamp gain modelling for extra sweet character.

3. Vocal compressor plugins

Compression is the next essential task in vocal mixing.

It means controlling the dynamics of the vocal so it sits nicely in the mix even during quiet passages.

It’s a big subject in music production so head over to our in-depth guide if you don’t have a handle on it yet.

Every compressor plugin has a unique character. Trying to list them all would take too long.

But to get you started, here are some favorites for vocal duties you can download for free:

Hot tip: Vocal compression is often done in stages in a process called serial compression. This means using one compressor after another to act on different parts of the signal or introduce different qualities. The compressors listed here can work on their own or together in series.

Analog Obsession FETish

You can never go wrong with the classic sound of an 1176 FET compressor. One of the most popular dynamics processors of all time, the 1176 is fast, punchy and perfect for controlling the aggressive transients in an active vocal performance.

You can never go wrong with the classic sound of an 1176 FET compressor.

Analog Obsession FETish is another great plugin take on this sound that’s available for free.

Analog Obsession LA-LA

If there’s one compressor style that’s most known for vocals, it’s the optical LA-2A compressor.

This is the buttery smooth vintage compressor powered by photocell and tube gain stages. It’s known for its gradual attack time and gentle release that beautifully compliment a great vocal.

Once again, Analog Obsession offers a compelling take on the LA-2A that you can download for free. But with so many excellent plugins in their bundle, consider supporting them if you download them all!

Hot tip:Subscribe to the LANDR Newsletter to get all the best free plugins updates in your inbox.

4. Vocal saturation plugins

Sometimes a vocal needs something a little extra to sit properly in a mix. In those cases, saturation is another tool in your vocal mixing toolbox to consider.

This plugin type adds gentle harmonic distortion that can wake up midrange frequencies and make a sound pop in the mix.

Hot tip: Saturation is a strong effect that many producers blend in gently on a bus. Try this if you need another layer of control over your vocal saturation

Sometimes a vocal needs something a little extra to sit properly in a mix. In those cases, saturation is another tool in your vocal mixing toolbox to consider.

Here are some great free saturation plugins to consider:

Klanghelm IVGI

Klanghelm is a respected plugin manufacturer that offers stripped-down versions of their flagship plugins for free.

IVGI is a single mode from their SDRR multi-saturator.

It adds a satisfying layer of harmonic distortion that can bring a dull vocal forward in the mix

Softube Saturation Knob

Sometimes a plugin doesn’t need to be complicated to be helpful in a mix.

That’s the case with the single parameter Softube Saturation Knob. Simply crank it up to add smooth saturation and punch.

5. Vocal de-esser plugins

De-essers are a plugin type with a very specific job in vocal mixing. They reduce the distracting effect of the ‘S’ syllable in a singer’s performance.

Certain vocalists and singing styles can create a sharp sibilance sound in combination with certain microphones.

De-esser plugins are how you reduce it. In essence, a de-esser is a compressor that only acts on a narrow range of the frequency spectrum where the sibilance occurs.

De-essers should be placed after any gain reduction or frequency boosting processors that add to the negative effects of sibilance.

Techivation T-De-Esser

Techivation is T-De-Esser is a straightforward free de-esser plugin that gets the job done.

Simply select a frequency range, set sharpness and intensity and dial in the amount of effect you need to smooth out your vocals.

Hot tip: Most DAWs come bundled with a perfectly good de-esser for cleaning up vocals. Try your native plugin bundle before rushing to download a free de-esser.

6. Vocal widener plugins

Once you’ve gotten your vocals to sit in your mix, you’ll want to start working with creative effects to make them stand out.

These vocal effects are typically used in parallel on an aux return channel for a subtle blend.

One of the most satisfying send effects on vocals is chorusing, detuning or doubling.

These plugins thicken the vocal sound and make them seem wider in the stereo field.

Here some nice free options:

Acon Digital Multiply

Acon Digital Multiply is a great free chorus plugin that’s perfect for adding swirling stereo modulation to a vocal track.

Add up to 6 voices of chorus and shape the sound with the onboard EQ to get the ideal vocal modulation.

Izotope Vocal Doubler

Vocal doubling has a long history in music production. It’s a natural way of thickening the vocal sound by recording additional takes on top of a lead vocal.

The modulation comes from the natural imperfections in the singer’s overdubs, but you can get a similar effect with plugins like Izotope Vocal Doubler.

Plus, it’s faster than singing your parts again!

7. Vocal delay plugins

Next up are your ambience effects. These are the processors that give your vocals a sense of space and dimension in the mix.

Delay is a type of spatial effect you’ll hear in most vocal mixes. It’s the echoing repeats that fade into the background behind the main vocal.

Hot tip: Even if you can’t distinctly hear the effect of a vocal delay plugin in the mix, subtle repeats contribute nicely to the ambience and often make the vocal blend better into the texture.

ValhallaDSP FreqEcho

ValhallaDSP FreqEcho is a simple but powerful delay plugin that can do more than you might think from it’s simple UI.

The frequency control lets you take it from pristine digital repeats to lo-fi filtered madness at the touch of a dial.

TAL Dub-II

TAL Dub-2 is a retro-style delay that models the stylish dirty delays from old-school dub reggae.

With powerful controls for saturation and modulation, you can build any analog-style delay you can imagine.

8. Vocal reverb plugins

Finally, reverb is essential in any vocal mix. This is the effect that simulates the reflections from rigid surfaces that situate a sound in its physical environment.

The quality of the reverberation gives your brain clues about where the sound takes place.

For example, a long diffuse reverb might evoke a large concert hall while a short, ringy decay could be a tiled bathroom.

That’s why producers take pains to choose the perfect vocal reverb plugin for the mix.

Here are a few plugins to help you do it for free:

Dragonfly Reverbs

The Dragonfly bundle of free reverb plugins covers all the important styles of reverb for your mix.

From rooms and early reflections to sumptuous plates and halls, the Dragonfly suite has a smooth, sophisticated sound that’s quite impressive for a free plugin.

OrilRiver

OrilRiver is another favorite when it comes to free reverb effects.

The latest version is updated to work on Mac and PC and delivers great sound with minimal CPU load.

TAL Reverb-2

TAL Reverb-2 is a classic reverb with a dreamy, enveloping sound.

If you need a larger than life reverb with lush diffusion, this is a great free option.

Freedom of choice

There are plenty of different approaches when it comes to mixing vocals. But most of them require plugins from a handful of these categories.

Whether you’re looking to build an entire vocal chain or just try something new, there’s a plugin on this list to help you get the sound you need.

Now that you’ve downloaded a few great free plugins, get back to your DAW and keep mixing.

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The Vocoder has been around for a long time—originally developed in the 1930s (!), and used for voice synthesis and even encryption (in WWII), it was adapted for musical use (by Bob Moog, among others) in the ’60s and ’70s, where its range of effects was heard on recordings by artists like Kraftwerk, Wendy Carlos (the Clockwork Orange score), ELO (“Mr Blue Sky”), Styx (“Mr Roboto”), and even Doctor Who (at least one version of the theme music). More recently, Vocoder effects have been incorporated into music by various artists, ranging from Coldplay to Daft Punk.

Vocoders are capable of quite a number of effects, from harsh, metallic Robot Voices (Cylons), to a quantized pitch effect similar to the Auto-Tune effect. But the classic Vocoder synthetic voice effect is the “singing instrument” or “singing synthesizer”. This is where a vocal is superimposed on an instrument, so it sounds like the instrument is singing—some classic examples of this particular effect are ELO’s “Mr. Blue Sky” (middle and end), and The Cars’ “Dangerous Type” (at the very end).

How Vocoders Work

The effect requires two signals—the instrument or synthesizer, which provides the tone and music—chords and/or melody—and the vocal, which articulates the words. The vocal doesn’t have to be sung (though it can be)—even a spoken word recording is fine—the pitches come from the instrument or synth. Here’s an example:

Fig 1 Logic’s EVOC 20 Vocoder processes a spoken word vocal recording

Audio Example 1 A spoken word vocal recording is used to create the classic “singing synthesizer” effect with Logic’s EVOC 20 Vocoder plug-in:

The EVOC 20

Logic has been good enough to include a Vocoder in its collection of effect plug-ins—the EVOC 20 (the E comes from the old days (Emagic) and the 20 is the maximum number of frequency bands—see below). In fact, Logic has not one, but three versions of this effect—two audio processors and an Instrument, which incorporates its own synthesizer.

These are fairly deep, complex processors, so I’m not going to explain them in full detail (that would be more of a book then an article!). For this article, I’m just going to show how to get that one classic “singing synth” effect, so I’ll cover a little of the basic theory and only the most key settings.

Of the three versions of the EVOC 20, two can be used for the classic effect we’ll be looking at here—the EVOC 20 PolySynth (the Instrument) and the EVOC 20 TrackOscillator (audio processor). Both can take a vocal and superimpose it on music—the PolySynth version uses its own synthesizer to provide the music (chords/melody), while the TrackOscillator version lets you apply Vocoding to an existing Instrument track (I used an organ in my example).

Filter this

Fig 2 The EVOC 20 Vocoder—the PolySynth (Instrument) version

The term Vocoder is short for VOice EnCODER. It encodes the characteristics of the voice using a bank of narrow-band filters—the EVOC lets you choose anywhere from 5 to 20. Looking at the EVOC 20 front panel (Fig 2) , you’ll see these in the center—more filters means a cleaner effect, fewer, a more pronounced artificial quality (somewhere in the middle (8–10–12) is a good choice). There are actually two filter banks—the Analysis and Synthesis banks.

The Vocoder works by breaking up an analysis signal (the voice, in these examples, but it could be anything) into narrow frequency bands; the included Synthesizer is broken up into the same, corresponding bands. Each of the analysis bands is coupled to its own Envelope Follower, which controls the envelope of the corresponding Synthesizer band. This superimposes the shape of the analysis wave—the vocal—onto whatever the synthesizer is playing (chords, melody).

So why does this make it sound like the Synthesizer is singing? Well, a human voice produces a number of resonant peaks called Formants—several of these combine to create the different vowel sounds. As we speak or sing, we’re changing the formants, each of which occupies a narrow frequency band, as we change vowels—that’s how we form words. The Vocoder captures the changing envelopes of these Formants with its narrow Frequency bands, and the Envelope Followers apply those envelopes to the synth sound, making the synth, in effect, produce vowels, as if it were speaking the words of the vocal signal. Since the synth is holding notes and chords, it appears to be singing those words—and there it is, the “singing synth”.

The consonants in the vocal (analysis) signal are detected and passed through, or used to generate a separate noise signal—this lends greater clarity and articulation to the “singing synth”. All of these aspects can be tweaked with the various controls in the EVOC, giving you the option to push the effect either toward clarity or away, towards a more synthetic or edgy quality.

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Welcome to the EVOC PolySynth

Here’s how to get the classic effect with the EVOC 20 PolySynth. You’d insert one on an Instrument track, and you’ll need a second track, with a vocal recording (spoken or sung) to provide the words/syllables. The vocal track will be routed to the EVOC’s Sidechain input, using the standard Logic plug-in sidechain menu, in the upper right (Fig 3 A).

Fig 3 Setting up the EVOC 20 PolySynth for the classic Vocoder effect

There’s an Attack and Release control that determines the response to this signal—for the most intelligible vocal effect, set the fastest Attack that sounds clean (Fig 3 B). Just below right, choose the number of bands (Fig 3 C)—as I mentioned, more bands = cleaner, fewer bands = more pronounced effect (Audio Example 2).

Audio Example 2 The same signal, first with 20 bands, then 12, then 8:

Below the graph are the Formant Stretch and Formant Shift controls (Fig 3 D). These will alter the corresponding Synth Formants only, providing familiar tonal-shifting special effects (Audio Example 3). The Resonance control, to the right, can also be used to intensify the effect.

Audio Example 3 A Vocoded signal, with the Formant Stretch knob narrowed, then gradually widened; then the Formant Shift knob shifted down, then gradually shifted up:

Seafoam trans tune advance auto. Above the graph, you can set the overall bandwidth (Fig 3 E)—narrower bandwidths will also have a more pronounced synth-y effect (Audio Example 4).

Audio Example 4 The same signal, first with a wider bandwidth (150-6400 Hz), then a narrower one (300-3200 Hz):

To the left are the Synth controls (Fig 3 F), where you can dial up anything from an analog to an FM-type synth sound. These are your standard synth controls, so I won’t go over them here.

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To the right, there’s a section labelled U/V Detection (Fig 3 G). U/V stands for “un-voiced”. These are the un-pitched portions of speech—the consonants. EVOC can detect these, and it will either pass them through, or generate a noise sound for them (or a blend of both), before passing the voiced components (the vowels/Formants) over to the analysis filter bank. The Sensitivity knob determines the response to the un-voiced components—too low, and the effect will lack clarity and intelligibility. The default setting (40%) is a good starting point (Audio Example 5).

Audio Example 5 The vocoded signal, first with the U/V Detection Sensitivity and Level settings at zero; then at their defaults (40% and 30%, respectively):

The Output section adds a Chorus option, and the Stereo Width knob can create either a mono effect (all the way down), or a stereo effect, by panning the different bands between left and right—centered, the bands ascend from left to right, at maximum, they alternate left and right (this control’s been at maximum for all the audio examples).

Vocode Your Own

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Besides generating the classic Vocoder effect with the EVOC 20 PolySynth’s built-in synthesizer, you can also apply it to another Instrument. To do this, you’d turn to the EVOC 20 TrackOscillator audio plug-in instead. Simply insert it in any slot in the Instrument track of your choice—I’ve picked an organ track.

Fig 4 The EVOC 20 TrackOscillator lets you Vocode the Instrument of your choice

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As you can see (Fig 4), the key controls are mostly the same. If you wanted to preserve more of the Instrument’s natural sound, you could set a wider bandwidth, and more neutral Formant settings.

Audio Example 6 The EVOC 20 TrackOscillator creates a “singing organ”:

Cooking fever hack apk download android. Obviously, there are a lot more controls in these plug-ins, and a lot more effects on tap as well, but this is all we have room for now. If you’ve got Logic, and you’ve never bothered to play around much with the EVOC 20, there’s a wealth of cool effects waiting in there for you to discover!

Learn more about how to use the vocoder in Logic Pro X with this excellent video course by David Earl HERE.

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