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• Bass Amp Vst Plugin

VST Bass Amp is a bass amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects. At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers. SHB-1 is meant to be used as a bass amplifier for live playing and jamming, tracking or mixing inside hosts capable of VST or AU plug-ins support. Main Features: Dynamic 12AX7 / ECC83 coupled triode stages analog modeling. Mono / Stereo processing support. Selectable oversampling rate (up to 8x). Global input / output level controls. VST 4 FREE - Free Audio Plug-ins and Archives. Free VST downloads: FabBass (Hofner violin bass by Samsara Cycle Audio) - Digital Nylon (Nylon guitar by TED) - Classic.

Here’s a roundup of three of the best free bass plugins to use for DI recording, jamming live, or for practicing.

Lately I’ve been learning to play the bass guitar mostly for recording purposes because when you like playing metal and hard rock like I do, fake bass just doesn’t cut it in the mix, not unless you want to spend a fortune on bass modeling software and then spend countless hours learning how to use it.

There’s no substitute for the real thing, and with the free plugins below you can make your bass sound like a beast.

It’s amazing how easy it is to get even a cheap bass guitar to sound great with these plugins.

So far my favorite is Ignite Amp’s SHB-1. You can get a good range of tones with it, and it’s easy on CPU usage. But the TSE B.O.D sounds good too.

I haven’t had a chance to test out the free Solid State Bass Preamp that comes with AmpliTube Custom Shop, but it’s another good free option. IK’s Ampeg SVX is one of the more popular paid bass amp sim plugins.

If you know of any other good free bass amp sim plugins, please share them in the comments section.

Best Free Bass Amp Sim Plugins

The GK Amplification 2 from Audiffex is a free bass amp sim modeled after a Gallien Krueger bass amp and it also comes with a MB 150 cabinet and an Audix D6 mic. It works as a plugin in VST, AU, and AAX formats and it’s also a standalone program.

The SHB-1 is modeled after the real SHB-1 bass tube amp, which was custom built by Ignite Amps for Federico Fulceri, the bass player for the Italian thrash/death metal band Subhuman. The plugin is available for PC and Mac in AU and VST formats, with support for 64 and 32 bit.

Bass Amp Vst Plug-ins

The AmpliTube Custom Shop comes with some free gear to get users started, which includes a Solid State Bass Preamp, along with a few free effects, cabinets, stomp boxes, and three other amps.

The good thing about AmpliTube verses the other two free plugins is it’s a standalone program so it doesn’t require the use of separate DAW software. But it’s also available as a plugin for VST, AU, and AAX formats, with support for 64 bit only.

The TSE B.O.D. is a digital replica of the SansAmp Bass Driver DI pedal, a popular bass preamp DI box with distortion, presence, and EQ controls. The free plugin is available in VST, AU, and AAX formats, with support for 64 and 32 bit.

TSE also offers a really good free tube screamer pedal called the TSE 808 that’s worth checking out. It’s based on the famous Ibanez tube screamer pedal.

VST Bass Amp is a bass amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects.

/vst-plugins-that-take-air-out.html. At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphones, Configuration, and Master.

These buttons are arranged according to the position of the corresponding elements in the signal chain.

Below the display section, the selected bass amplifier is displayed. The color and texture of the area below the bass amp indicate the selected cabinet.

Pre/Post-Effects

On the Pre-Effects and Post-Effects pages, you can select up to six common bass effects. On both pages, the same effects are available, the only difference being the position in the signal chain (before or after the bass amplifier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Pedal – Controls the filter frequency sweep.

Range – Determines the frequency range.

Q-Factor – Sets the intensity of the envelope filter effect.

Sensitivity – Determines how sensitive the effect reacts to the instrument level.

Attack – Determines how quickly an effect reacts to the input signal.

Mix – Sets the level balance between the dry signal and the wet signal.

Type – Sets the filter type.

Release – Determines how quickly the effect fades after the input signal stops.

Pedal – Controls the level of the signal passing through the effect.

Intensity – Sets the amount by which an input signal is being compressed.

Lo Intensity – Sets the compressor effect in the low frequency band. Activate/deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Hi Intensity – Sets the compressor effect in the high frequency band. Activate/deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Crossover – Determines the crossover frequency between the low frequency band and the high frequency band.

Output – Sets the output level.

Threshold – Determines the maximum output level. Signal levels above the set threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Amount – Determines the loudness of the signal.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect.

Tone – Allows you to attenuate low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Width – Determines the width of the modulation effect between higher and lower frequencies.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Feedback – Determines the character of the flanger effect. Higher settings produce a more metallic sounding sweep.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Level – Sets the output level.

Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive and Presence are not active.

Bass – Boosts or attenuates low frequencies.

Treble – Boosts or attenuates high frequencies.

Presence – Boosts or attenuates upper harmonics and attacks.

Drive – Sets gain and overdrive.

Enhance – Simulates the classic enhancer effect.

Tone – Allows you to attenuate low frequencies.

Direct – Adjusts the level of the original signal. A value of 0 means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Tone – Changes the sound character of the generated signal.

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.

Feedback – The higher this setting, the more delay repeats are created.

Mix – Sets the level balance between the dry signal and the wet signal.

Delay – The Delay parameter sets the delay time in milliseconds.

Feedback – The higher this setting, the more delay repeats are created.

Duck – Works like an automatic mix parameter. If the level of the input signal is high, the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value). This way the delayed signal stays rather dry during loud or intensely played passages.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more harmonics are added to the output signal of this effect.

Tone – Works as a filter effect on the added harmonics.

Level – Adjusts the output level.

Drive – Controls the amount of tape saturation.

Low/High – These parameters set the frequency range of the spectrum band to which the tape effect is applied.

HF-Adjust – Sets the amount of high frequency content of the saturated signal.

Threshold – Determines the level at which the gate is activated. Signal levels above the set threshold open the gate and signal levels below the set threshold close the gate.

Release – Sets the time after which the gate closes.

Low – Changes the level of the low-frequency portion of the incoming signal.

Middle – Changes the level of the mid-frequency portion of the incoming signal.

High – Changes the level of the high-frequency portion of the incoming signal.

Display – Consists of 8 sliders that set the level of each frequency band. Allows you to draw response curves by clicking and dragging with the mouse.

Reset Sliders – At the lower right of the Display. Flattens all values to 0 dB.

Rar shareware software for mac. Output Slider – Allows you to control the frequency response.

Type – A convolution-based reverb effect. This parameter allows you to switch between the reverb types Studio, Hall, Plate, and Room.

Mix – Sets the level balance between the dry signal and the wet signal.

Sync

Some parameters can be synchronized to the tempo of the host application.

The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync. An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.

Using Effects

• To insert a new effect, click the + button that appears if you point the mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot.

• To remove an effect from an effect slot, click the effect name and select None from the pop-up menu.

• To change the order of the effects in the chain, click on an effect and drag it to another position.

• To activate or deactivate an effect, click the pedal-like button below the effect name. If an effect is active, the LED next to the button is lit.

Bass Amp Vst Plugin Free

• Pre-effects and post-effects can be mono or stereo, depending on the track configuration.

• Using quick controls you can set up an external MIDI device, such as a foot controller, to control the VST Bass Amp effects. For more information about quick controls, see the Operation Manual.

Amplifiers

The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp features settings typical for bass recording, such as gain, equalizers, and master volume. The sound-related parameters bass, low mid, high mid, and treble have a significant impact on the overall character and sound of the corresponding amp. Shape 1 and Shape 2 offer predefined tone shaping.

A famous tube amplifier from the 70s, useful for rock playing styles.

An amplifier, well known for its typical growl, useful for several playing styles.

A classic amplifier from the 80s, useful for funk and rock playing styles.

An amplifier from the 90s, with a hifi-like clear tone, that makes it applicable for several styles.

A classic vintage amplifier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players.

A modern amplifier, with a universal sound.

The different amps keep their settings if you switch models, but amp settings are lost when closing VST Bass AMP. If you want to use the same settings after reloading the plug-in, you need to set up a preset.

Selecting and Deactivating Amplifiers

To switch amps on the Amplifiers page, click the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.

To scroll through amplifiers, use the mouse wheel when hovering over the amplifier panel.

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets.

The following cabinets are available:

10' speakers provide a punchy clear sound that is suitable for “Slap” bass and regular playing styles.

10' speakers have a cleaner sound and more punch than 15' speakers.

Compared to 4x10', double the amount of speakers.

12' speakers provide a mellow and full sound, making them a good choice between 10' and 15' speakers.

15' speakers provide more low frequencies compared to the other cabinets. They are suitable for rock and vintage oriented styles.

Selecting and Deactivating Cabinets

• To switch cabinets on the Cabinets page, click the model that you want to use. Select No Cabinet if you only want to use the amps and effects.

• If you select Link Amplifier & Cabinet Choice, the plug-in automatically selects the cabinet corresponding to the selected amp model.

Microphones

On the Microphones page, you can choose between different microphone types.

Dynamic microphone with cardioid pickup pattern.

Ribbon microphone with figure-8 pattern.

Dynamic microphone with supercardioid pickup pattern.

Bass Guitar With Amp Package

Dynamic microphone with cardioid polar pattern.

Best Professional Vst Plugins

Dynamic microphone with cardioid pattern that minimizes feedback.

Dynamic microphone with cardioid pickup pattern.

Reference and measurement microphone with omni directional polar pattern.

Condenser microphone with omni directional pattern.

You can choose between different microphone positions. These positions result from two different angles (on axis and off axis) and three different distances from the cabinet.

You can crossfade between the characteristics of the two microphones.

• To select one of the microphone types or blend between the two types, turn the Mix control between the two microphones.

• To select a microphone position, click the corresponding ball in front of the cabinet. The selected position is marked in red.

• To determine the ratio between line and mic, turn the Mix control on the left of the cabinet.

To scroll through microphones, use the mouse wheel when hovering over a microphone.

Master

Use the Master page to fine-tune the sound.

The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In all other views, the input and output levels are indicated by two LEDs at the top left and right.

Using the Master Controls

• To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit.

• To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is active, the LED to the left of the Gain knob is lit.

• To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play a string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.

  If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.

• To mute the output signal of the plug-in, click the pedal-like Master button. If the output is muted, the LED is not lit. Use this to tune your guitar in silence, for example.

• To change the volume of the output signal, use the Level control on the Master page.

• Note

  Master EQ functions only when a cabinet is selected.

Configuration

On the Configuration page, you can specify whether you want to use VST Bass Amp in stereo or in mono mode.

• To process the pre-effects, the amplifier, and the cabinets in full stereo mode, make sure that the plug-in is inserted on a stereo track, and activate the Stereo button.

• To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and activate the Mono button.

In stereo mode, the effect requires more processing power. Use mono configuration on a stereo track to save processing power.

View Settings

You can choose between 2 views: the default view and a compact view, which takes up less screen space.

In the default view, you can use the buttons at the top of the plug-in panel to open the corresponding page in the display section above the amp controls. You can horizontally resize the plug-in panel by clicking and dragging the edges or corners.

In the compact view, the display section is hidden from view. You can change the amp settings and switch amps or cabinets using the mouse wheel.

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over the plug-in panel.

Switching between Default and Compact View

• To toggle between the different views, click the down/up arrow button (Show/Hide Extended Display) at the top center of the plug-in frame.

Changing the Amplifier and Cabinet Selection in the Compact View

In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplifier and cabinet models.

• To select a different amplifier or cabinet, click the name and select a different model from the pop-up menu.

• To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet Choice button. If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.

Bass Amp Vst Plugin

Previewing Effect Settings

In both views, you can show a preview of the pre- and post-effects that you selected on the corresponding pages:

• Click and hold the Show Pre-Effects or Show Post-Effects button at the bottom left or right of the plug-in frame.