Plugin Alliance is one of the top audio plugin manufacturers for music production, mixing, and mastering. I’ve been using their plugins for years, all starting with the BX Digital V3. This was one of the first plugins to offer M/S (mid/side) equalization in the digital domain. It might not sound like a big deal now with so many M/S plugins available, but it was a game-changer at the time. As years went by, they started working with Universal Audio, and in my opinion, that’s when they became a stronghold in the music industry.
In today’s post, I will break down the 10 best plugin Alliance Plugins. These are the plugins I tend to use in almost every mix.
Let’s get into it!
The 10 Best Plugin Alliance Plugins
1. BX Digital V3 -The BX Digital V3 has been a reliable tool, particularly for its Mid/Side (M/S) processing and stereo widening capabilities. The M/S processing is a standout feature for me; it allows for independent control of the mid (center) and side (stereo) elements of a mix. This proves invaluable when I need to fine-tune the balance between the lead vocals or instruments and the overall stereo ambiance. It’s a delicate process, and BX Digital V3 offers the nuanced control necessary for this.
The stereo spreader function is another aspect I find myself turning to in specific scenarios. It’s great for adding width to a mix that feels too centered or narrow, but I’ve learned it’s a feature that demands restraint. Overuse can lead to a mix that feels dispersed and loses its focus, especially on mono playback systems. When used judiciously, however, it can enhance the sense of space and dimension in a track without compromising the core integrity of the mix.
Dynamic processing in BX Digital V3 is also a significant aspect of my mastering workflow. It’s particularly adept at handling sibilance issues and other problematic frequencies that might become pronounced during the mastering stage. The dynamic EQ section responds to the audio signal’s intensity, applying adjustments only when certain thresholds are met. This targeted approach is essential for maintaining the natural feel of the track. While it’s an effective tool, I approach it with a critical ear – overuse can lead to an overly processed sound, detracting from the track’s original character.
2. Black Box HG2MS -In my mixing projects, the Black Box HG2MS has been a valuable addition, especially when I’m looking to enrich drum tracks. From my experience, this plugin stands out for its ability to add a distinct thickness and roundness to drums. This quality isn’t something I’ve easily found in other plugins, making the Black Box HG2MS a go-to choice in certain mixing situations.
What I particularly appreciate about this plugin is its focus on emulating the sound characteristics of tubes and transformers. This feature brings a certain analog warmth to digital recordings, which can be particularly beneficial for drums, giving them a fuller, more resonant character. However, I’ve learned to use this feature judiciously. Over-saturation can lead to an unnatural or overly processed sound, detracting from the organic quality of the drums.
While I’ve found great success in using the Black Box HG2MS for drum tracks, it’s important to remember that saturation is a tool that should be used to complement the existing qualities of a mix. Depending on the genre, the desired sound, and the individual elements within a track, the amount and type of saturation needed can vary significantly.
3. Lindell Audio 80 Series – The Lindell Audio 80 Series has carved out a special place, particularly for its emulation of the classic Neve gear. For those of us who hold the Neve 1073, 1084, and 2254 in high regard, this plugin offers a slice of that legendary sound in a digital format. Its ability to replicate the thickness and roundness characteristic of the original Neve gear is, from my experience, quite impressive.
One feature of the Lindell Audio 80 Series that I find particularly useful is the Mic Pre emulation. The plugin allows you to engage the unity button and then dial up the gain for distortion effects without significantly boosting the overall level. This functionality is great for adding a bit of grit and character to tracks, especially when you’re looking for that subtle distortion that doesn’t overwhelm the mix.
However, it’s important to approach this feature with a level of restraint. While the distortion can add a desirable character, overdoing it can lead to a mix that feels overly processed or loses its natural dynamics. The key is to use it to enhance, not overpower, the inherent qualities of the audio.
While the Lindell Audio 80 Series is a valuable tool in my arsenal for achieving a certain sonic quality, it’s worth noting that the plugin is not a one-stop solution for all mixing needs. Its specific sound character might not suit every track or genre. Like any emulation plugin, its effectiveness largely depends on how well it aligns with the goals of your project and how skillfully it’s used within the context of the mix.
4. SSL 4000 & 9000 -Ever since my early days of dreaming about studios, Solid State Logic (SSL) consoles have been a part of that vision. SSL’s reputation in the mixing and mastering world is well-earned, and their 4000 and 9000 series consoles are prime examples of why they’re so revered.
The SSL 4000 always struck me as having a distinct character. It’s gritty and has a certain ‘dirt’ to its sound that I’ve found to be incredibly useful in giving mixes a more organic, lived-in feel. This console brings a texture that can be particularly appealing in genres where a raw, edgy sound is desirable. It adds a layer of complexity to the audio that can make a track stand out.
On the other hand, the SSL 9000 is like the polished counterpart to the 4000’s ruggedness. Its cleaner sound profile and seemingly endless headroom allow for a level of clarity and precision that can be crucial in more polished, high-fidelity productions. The 9000’s ability to handle intricate dynamics without losing detail is something I’ve always admired.
What’s particularly fascinating about both the SSL 4000 and 9000 is their TNT (Tolerance Modeling Technology) modeling. This feature introduces variations in the sound, emulating the slight inconsistencies you’d find in analog hardware. This aspect adds a layer of realism and uniqueness to each plugin, making the digital emulation feel more alive and less sterile. It’s a nod to the analog world where no two signal paths are exactly the same, bringing a bit of that unpredictability into the digital realm.
While I hold both consoles in high regard, it’s important to note that they’re not universally suited for every project. The 4000’s grittiness might be too much for some, and the 9000’s pristine clarity might not always align with the desired aesthetic of a mix. The choice between them often comes down to the specific needs of the track and the sonic goals of the project.
5. Bettermaker EQ232 -When Bettermaker introduced the world’s first digitally controlled analog equalizer, it definitely caught my attention. The EQ232, in my experience, has been a noteworthy addition to the realm of audio mixing and mastering. Its blend of digital control over analog sound has been a fascinating evolution in audio processing technology.
What has consistently impressed me about the EQ232 is its exceptionally clean sound. As someone who often grapples with finding the right balance in EQ without introducing unwanted coloration, this clean characteristic has been invaluable. Whether I’m working on subtle adjustments or more drastic tonal changes, the EQ232 manages to retain the integrity of the original sound while delivering the desired alterations.
The availability of the EQ232 in plugin form is a significant plus. In my setup, this has offered a level of convenience and integration with digital workflows that traditional hardware can’t match. The fact that the plugin version retains the sonic quality of its hardware counterpart is a testament to the meticulous design and engineering behind it.
6. AMEK EQ200 – The AMEK EQ200, modeled after the renowned GML 8200 Mastering EQ, has been a notable addition to my audio toolkit. Its emulation of the GML 8200’s sound and characteristics has impressed me since its release. In my personal workflow, it has become a mainstay on my Master Bus, consistently delivering the quality and precision I seek in my mastering process.
What I find particularly compelling about the AMEK EQ200 is its versatility. Whether I’m working on subtle tweaks or more significant tonal shaping, this plugin manages to handle these tasks with finesse. It maintains the sonic integrity of the track while providing the level of control needed for mastering. The clarity and transparency it offers are qualities that I value highly, especially when finalizing a mix.
In my experience, the AMEK EQ200 stands out for its faithful emulation of the GML 8200 and its adaptability across various mastering tasks. But it’s crucial to approach it as part of a larger arsenal of tools, each with its role to play in the art of mixing and mastering. Using the AMEK EQ200 in conjunction with other plugins and hardware, depending on the demands of the project, has been key to achieving the desired outcomes in my work.
7. Shadow Hills Compressor – The Shadow Hills Compressor, known for its reputation in the mastering world, has been a significant part of my mixing arsenal, particularly on the drum bus. This software emulation of the renowned hardware mastering compressor, originally released as a UAD plugin developed by Brainworx and now available through Plugin Alliance, has impressed me with its versatility and sonic quality.
From my experience, the Shadow Hills Compressor stands out for its ability to impart a unique character to tracks, especially drums. Its dual-stage compression provides a level of control that allows for both subtle dynamic shaping and more pronounced compression effects. This versatility makes it an invaluable tool when I’m looking to add punch and cohesion to drum tracks without sacrificing their natural feel and dynamics.
What I appreciate about this compressor is its distinctive tonal character, which can add depth and richness to the sound. However, I’ve also learned the importance of using it judiciously. Over-compression, or relying too heavily on its coloration, can lead to a loss of dynamics and an overly processed sound. It’s a powerful tool, but like any piece of equipment, its effectiveness comes from a thoughtful and balanced application.
It’s worth noting that while the Shadow Hills Compressor excels in many scenarios, it’s not a one-size-fits-all solution. Depending on the specific requirements of a track or the genre I’m working with, other compressors might be more suitable. The choice of compressor, much like any other mixing decision, should align with the goals of the project and the desired sonic outcome.
In my mixing practice, the Shadow Hills Compressor has earned its place as a go-to for drum bus compression. Its unique sound and flexible controls offer a range of possibilities that can enhance the impact and quality of a mix. However, its role is part of a broader toolkit, and its selection should be guided by the specific needs and characteristics of each individual project.
8. ADPTR Audio Metric AB – The ADPTR Audio Metric AB, while not an audio processing plugin in the traditional sense, has become an indispensable part of my mixing toolkit. Its primary function, allowing for A/B comparisons between different mixes, has been a game-changer in my workflow. The ability to directly compare my current mix with either the rough mix or any other reference track, especially with level adjustments, is a feature I find invaluable.
One of the key reasons I rely on Metric AB so heavily is its capability to level match between tracks. This is crucial because it helps avoid the common pitfall of perceiving louder tracks as better. By enabling level-matched comparisons, I can make more objective decisions about the quality and direction of my mix, focusing on tonal balance, stereo imaging, and other critical aspects without being misled by volume differences.
9. Maag EQ – The Maag EQ has been an interesting component in my mixing toolkit, particularly known for its ability to add ‘air’ to the top end of a mix. While I may not reach for it as frequently as I used to, it holds a unique place for certain tasks, especially when a mix requires brightness without harshness.
What stands out about the Maag EQ is its capability to enhance the high frequencies in a way that feels open and expansive, rather than sharp or piercing. This quality can be incredibly useful when a track needs that extra lift in the top-end to stand out or to add a sense of clarity and space. It’s a subtle effect, but in the right context, it can make a significant difference.
The low-end handling of the Maag EQ is another aspect I appreciate. It manages to provide weight and presence to the bass frequencies without muddiness or overpowering the rest of the mix. This balance is crucial in maintaining the overall tonal integrity of a track.
10. SPL De-Verb – The SPL De-Verb plugin might not be the most glamorous tool in my mixing arsenal, but its utility cannot be overstated. It’s a plugin that’s specialized and understated, focusing on doing one thing well: reducing unwanted room reverb in recordings. In my experience, it’s been a quiet lifesaver in numerous mixing situations.
What I particularly value about the SPL De-Verb is its ability to clean up recordings that have been compromised by excessive room sound. It’s not uncommon to encounter tracks where the room acoustics haven’t been ideal, resulting in a recording that’s too ‘live’ or has unwanted reverb. In these scenarios, the De-Verb has proven to be incredibly effective in dialing back that room noise, helping to focus and clarify the sound.
So there you have it—my top 10 list of Plugin Alliance plugins. Let me know what your favorites are in the comments below! If you need your songs mixed or mastered, you can check my audio mixing services here.
