Remove Reverb Vst Free
The first way to remove reverb or room ambience from a recording is to use a type of audio plug-in that has become quite common in recent years, generally called a transient designer (it goes by other terms, but that’s the most common). The idea behind a transient designer is that it enables you to manipulate the time immediately before. It won't get rid of the reverb present when people are speaking, only the gaps between. That is: if someone says 'Potato', the initial P might have a reverb over the rest of the word. This will remain - it's only when the word finishes that the noise gate would kick in and remove the reverb. It depends a lot on the recording. Check the box marked Output reverb to listen only to the components of the sound that are being removed. Continue to tailor the settings to remove the desired amount of reverb without affecting too much of the voice. For this example, we’ll reduce the High frequency attenuation to 2.5 and the general Reduction slider to 2.5 as well. High-Quality Reverb Removal in Seconds. Unless you own a professional studio or feel comfortable recording in your wardrobe, it’s almost impossible to completely isolate your voice and get reverb-free audio results. Reverb is the unavoidable result of room acoustics. It can make your audio sound distant, “echoey” or hollow. Reverb Remover Vst Software Freeverb3 v.2.6.0 Freeverb3 is a sound processing library, which includes sampling rate scaling enabled version of freeverb with some fixes, extended implementation of NReverb by CCRMA, implementation of impulse response convolution reverb, FIR filter constructor. File Name:Freeverb3. Newest Free Plugins 3.3k Best Free Plugins 2.9k Best Free Instrument Plugins 1.3k Free Synth Plugins 457 Best Free Effect Plugins 1.6k Best Free Guitar Effect Plugins 52 Free Reverb Plugins 104 Free EQ Plugins 136 Free Plugins Host 100 Free Kontakt Instruments & Libraries 204 Best Free Drum VIs 115.
One of my recording students who owns a home studio recently asked me if there was any way he could remove some of the “reverb” from recordings he had made of some classroom lectures. In his case, “reverb” meant the ambient reflections from the room in which the recordings were made, but what I’m about to describe here could be applied to recordings to which reverb effects have been added as well.
Fortunately, I had come across this situation a few years ago while I was mixing and mastering the audiobook version of a client’s autobiography.
My client had hired a voiceover artist to do the narration for the audiobook. The voiceover artist did a good job with the narration, but the recording had been made in a small, less-than-ideal space, with the mic a little too far away. So there were a lot of background reflections in the audio, making the narration sound a bit like it had been recorded in a tiled bathroom – not intimate at all. As it turned out, I was able to remove most of the room ambience and save the recording.
While completely inconceivable a few years ago, audio technology has advanced to the point where removing these background reflections after the fact is not only possible, but can also be very effective, depending on the characteristics of the original audio. There are several approaches to doing it, but I’ll cover two of the most straightforward ones here.
The first way to remove reverb or room ambience from a recording is to use a type of audio plug-in that has become quite common in recent years, generally called a transient designer (it goes by other terms, but that’s the most common). The idea behind a transient designer is that it enables you to manipulate the time immediately before and the time immediately after the arrival of a sound. Transient designers have many, many possible uses on audio tracks for producing all kinds of interesting results, but a very common use in modern mixes is with drum tracks, particularly snare drum. The transient designer allows you to finely control the duration of the ring of the snare that occurs after the initial hit of the stick on the drumhead. You can make the ring shorter than it actually was when recorded, to get a very snappy, “tight” snare sound. Conversely, you can make the ring longer than it actually was when recorded, to get a big, hollow, “roomy” snare sound. Transient designers work particularly well on single, mono tracks, where the sound you’re working with is fairly discrete, i.e., there’s not a lot of sound from other instruments “bleeding” into the track.
The same technique can be applied to the reflections coming off a room’s walls and other surfaces in a spoken-word track like a book narration or classroom lecture. Using the transient designer, you can shorten the duration of those reflections at the ends of words or phrases, so the audio sounds closer and less like it’s bouncing off the walls. You can also use this technique on an electric guitar track, where you might have used a little too much reverb on the amp when you recorded it.
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Sometimes this transient designer trick is all you need, and can be very effective depending on the source material and the degree of ambient reflections. At other times, it just doesn’t give you enough control, and can even make the audio sound really weird (and unusable). Fortunately, there’s a new class of more sophisticated “reverb removal” (or “de-reverberation”) plug-ins that use a combination of audio techniques like phase cancellation in addition to transient manipulation. I happen to like this class of plug-ins because they get me the results I want much faster and with less trial and error on my part.
There are a number of transient designer plug-ins available, probably the most popular being the SPL Transient Designer (available in several native versions, as well as part of Universal Audio’s UAD series). Another example is the Transient Master from Native Instruments. My DAW of choice, Steinberg’s Cubase, comes with its own, built-in transient designer plug-in called the Envelope Shaper, as do some other DAWs like Apple’s Logic.
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As for the more sophisticated “reverb removal” or “de-reverberation” versions, there are several to choose from. SPL’s version is, not surprisingly, called De-Verb. Zynaptiq makes one called Unveil. My favorite (and the one I used on that spoken-word narration project I mentioned above) is DyVision’s Reverb Remover. I like it for several reasons: it’s very effective (at least on the material I’ve used it on – your mileage may vary); it’s dead-simple to use (only 3 knobs – yay!); and it’s really well priced (only $49.37 as a no-hassle, instant download). It also has a demo version that you can try out before you buy.
The next time you need to take a little “wetness” out of a track, consider using a transient designer or reverb removal plug-in. You just might find that you’ve saved a recording that you thought was toast! 🙂
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Have you used a transient designer or reverb removal plug-in before? Have another one to recommend? I’d love to hear about your experiences in the comments below.