The free vox loops, samples and sounds listed here have been kindly uploaded by other users. If you use any of these vox loops please leave your comments. Read the loops section of the help area and our terms and conditions for more information on how you can use the loops. Voxengo offers you high-quality DAW audio plugins: VST plugins, AAX plugins, AudioUnit plugins, and sample rate converters, for Windows and macOS computers. Our goal is to provide user-happy, robust, and efficient solutions for audio and music production, including streaming, mastering, and surround sound. Let's clear Clear the Cubase vst preferences to force a re-scan of all vst plug-ins (in case the plug-in is blacklisted) Remove all plist/xml files with VST in the file name from the Cubase preferences folder, check this post where to find the preferences folder. Then restart your computer. After the restart run Cubase. AC30: Provides the AC30 top boost sound. Classic Rock: Delivers the classic crunch of a UK-made 100W amp. Metal: Gives you the extreme high-gain sound of a US-made amp. Bass: Designed specifically for low frequencies, offering a wide-range response. Clean: The ideal choice for fat, boutique inspired clean sounds.
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Based on a 1966 VOX® AC30 Top Boost. Originally released in 1958, Vox’s AC30 went through a few design changes that would eventually define the sound of British pop/rock in the ’60s. First available by Vox as a modification mounted in the rear of the amp, the “Top Boost” circuit added an extra tube and controls for Treble and Bass. The best guitar amp simulator for more modern high-gain guitar sound, metal, and alike. Distinguished by it’s darker, fuller, heavier sound which will be loved my metalheads and modern guitarists. Supports various audio plugins: VST/VST3/AU/AAX which are compatible with any kind of Digital Audio Workstation softwares.
As an audio engineer, an important tool for recording is the Digital Audio Workstation (DAW). There are many DAW options to choose from, including Pro Tools, Logic, Cubase, Nuendo, Reaper, Reason, Studio One, etc.
There are many differences to consider between DAWs, but that’s a topic for a different day.
One similarity between DAWs is the use of plugins for instruments and signal processing.
All modern DAWs come bundled with a set of stock plugins for you to use as soon as you install the DAW.
These stock plugins usually cover the basic signal processors and instruments necessary for an audio engineer and producer. Nonetheless, you can replace these stock plugins with many 3rd party options.
These additional purchased plugins are under the same categories of processors/instruments as stock plugins, but they can function and sound differently.
Prior to purchasing and replacing stock plugins, I recommend two things: learning (and even mastering) how to use your stock plugins, and supplementing your stock plugins with other free plugins.
Contrary to conventional wisdom, stock plugins are extremely powerful and can sound great if used correctly. In fact, a set of stock plugins in the hands of an experienced engineer is more than sufficient to create a professional mix. It is tempting to think that your mixes could be significantly improved by spending a lot of money on new gear. However, this can be a very costly decision if you do not know how to use the tools at your disposal.
Additionally, there are many free options of plugins that can supplement what you already have, without having to spend any money. Depending on your DAW and OS, there are a large collection of free VST, AU, RTAS, and AAX plugins. Plugins like the Softube Saturation Knob are a no-brainer to add analog console saturation to your collection.
The Native Instruments Kontakt Player is a free version of their sampler, and there are many sample libraries can be loaded in the software for free. If your DAW has a stock convolution reverb, then you should consider downloading and using a wide range of free impulse response libraries of acoustic spaces and hardware reverb units.
When it comes time to replace your stock plugins, here are some thoughts on what to consider replacing first.
Limiter
Even though limiters typically have few parameters of control, there are actually a wide range of algorithms that can be used to perform limiting.
The best algorithms typically take a lot of research and development, and therefore can cost a lot of money. Stock limiter plugins are sufficient for some applications, but are more likely to add audible artifacts, distortion, and pumping to a mix.
Besides dynamic range compression, a good limiter will include dithering. There are many types of dithering, and the best include perceptual noise shaping to make the dithering process imperceptible.
When purchasing a limiter, make sure to choose an option that includes both high quality dynamic range reduction as well as dithering.
Piano
One of the most common virtual instruments included as a stock plugin is a piano.
The piano is an important instrument in several styles of music ranging from Pop, Jazz, Classical, Blues, R&B, Rock, and Country. It’s a very difficult and expensive instrument to record, requiring a nice room, microphones, preamps, not to mention an actual piano.
The piano virtual instruments that come with most DAWs can be a huge improvement over trying to record a real piano on a low budget.
If your mix requires a background piano part, the stock plugin might be exactly what you need. However, if the piano part is featured in your mix, then you should probably consider a higher quality option. There is nothing worse than having your listeners think, “that sounds like a fake piano.”
Harmonic Saturation/Distortion
Even though you’re recording in a DAW, you may not want your audio to sound completely digital (i.e. linear). Depending on the style of music, an analog console saturation plugin might be exactly what you need to add some extra vibe.
If you cannot achieve the sound you’re after with the Softube Saturation Knob plugin, there are many options of modeling plugins based on specific analog desks.
Several companies offer plugins that model the analog character of SSL, Neve, EMI, Trident, and API desks. However, just because a similar desk is modeled in each plugin, does not mean that the underlying algorithm and sound is the same. Your best bet is to demo several plugins at the same time and hear which one you prefer.
Similarly, guitar amp simulation is another type of harmonic saturation plugin that’s very useful for a modern audio engineer.
Sometimes it’s too costly/time-consuming/logistically impossible to record a real guitar amp. Non-linear signal processing is very complex, and modeling algorithms can vary widely. A Vox AC30 amp model in your stock plugin can sound very different from the same amp modeled in a different plugin.
The technology for guitar amp modeling is constantly improving, so it’s valuable to invest in the latest technology if your music features electric guitar. For the most realistic simulated amp sounds, check out various options of speaker cabinet convolution plugins.
Sampler
Besides having a high-quality sampled piano, any audio engineer or producer working with modern styles of music should have a proper sample library and a plug-in sampler for playback and organizational purposes.
Audio sampling has become increasingly popular for everything from acoustic and electronic drums, keyboards, synthesizers, loops, cinematic hits/swells/stabs, guitars, bass, and even vocals.
Placing audio samples in the timeline of your song can be a laborious task. A sampler is very helpful if you want to quickly trigger the samples via a MIDI controller to add them to your track. A sampler can also be helpful for time expansion/compression of loops to fit the tempo of your track.
As you build up your sample library, it can be a challenge to keep track of all the audio files. Any sampler worth purchasing should help you organize, access, and search through your library very quickly.
If you are investing in a sampler plugin, you should consider the library included with the plugin, and also your expansion options down the road.
Reverb
Depending on your DAW of choice, it may include a stock algorithmic reverb plug-in (such as DVerb in Pro Tools) or it might include a stock convolution reverb (Space Designer in Logic). It’s a good idea to have a plugin that represents both options, as certain mix situations require having one or the other.
When you’re purchasing a new plugin, look for an option that includes high-quality algorithms or impulses of a variety of reverb sounds: chamber, hall, studio, plate, spring, church, etc. If you are after a certain “synthetic” reverb sound, do your research ahead of time before picking a plugin emulation of the classics (EMT, Lexicon, etc).
More
Besides these plugins, there are many options for equalization and compression. However, especially in the case of EQ, most spectral processing can be accomplished using the stock plugins. It’s not until your skills and workflow require more complicated processing like linear phase EQ, that it becomes necessary to purchase additional options.
Similarly, in the case of compression, don’t underestimate the power of your stock compressor. There are plenty of skills to master regarding the use of the compressor before considering more advanced processors. Eventually you may get to a point where your skills and workflow require the use of plugins that have multiband compression.
In conclusion, make the most of the stock plugins that come with your DAW and be very intentional about how you supplement and add to your plugin collection.
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OwnHammer 212 VC30 6-Pack Bundle
Size 1 Gb
212 VC30 6-Pack
CAB
“212 VC30” based on a Vox AC30/6 open back fawn 2×12 combo.
SPEAKER
“BLU-93” based on 1993 Celestion Blue Alnico’s.
“CB-ALN” based on Celestion Creamback Alnico’s.
“GOLD” based on Celestion Gold Alnico’s.
“H30” based on pre-Rola Celestion 75 Hz G12H-30’s.
“M25-93” based on 1993 Celestion 6402 cone G12M-25’s.
“V30” based on a Celestion Vintage 30’s.
In addition to the single speakers listed above, the following pre-made complimentary speaker pair mixes are also provided:
BLUE+M25 • CBAL+H30 • GOLD+V30 • H30+CBAL • M25+BLUE • V30+GOLD
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MICS
“57” based on a modern production Shure SM57 dynamic mic.
“70” based on a Microtech Gefell UMT70S condenser mic.
“121” based on a Royer R121 ribbon mic.
“160” based on a Beyerdynamic M160 ribbon mic.
“414” based on an AKG C414B-ULS condenser mic.
“421” based on a vintage Telefunken MD421 dynamic mic.
“MID” based on a mid field placed AEA R92 ribbon mic.
“REAR” based on a vintage Neumann KM84 condenser mic.
“ROOM” based on a vintage Neumann KM84 condenser mic.
Also included but not pictured:
“58” based on a Shure SM58 dynamic mic.
OUTBOARD GEAR
Power Amplification
• neutral tube amp Conversion
• Prism Orpheus
Microphone Amplification
• BAE 1073mp Cables
• Vovox Sonorus
FILE FORMATS
Wave Audio (.wav)
Wave audio format IR’s (.wav) are compatible with convolution reverb type loaders in recording software and outboard hardware units and are provided in:
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- 24 bit resolution
- 44.1, 48, 88.2, and 96 kHz sample rates
- mono channel count
- minimum phase transformed (“Mpt”) and non-minimum phase transformed
- 200 and 500 ms decay tail lengths
For added convenience, .wav files appropriate for conversion or submission to the following platforms have been separated out and designated within the library structure:
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- Atomic Amplifire
- Fractal Audio Systems hardware/software
- Kemper Profiling Amp
- Line 6 Helix
- Two Notes hardware