Gorilla Bass is a plugin made to create heavy Reese basslines for drum & bass, jungle, 2-step, and garage music productions. Each Reese Bass has been created from scratch, mastered, and heavily processed to perfection. Beware though, these sounds are grungy and loud! They'll become the less subtle bass in your plugin collection. FREE VST PLUGINS. Search for: FREE VST PLUGINS. Free Audio Plugins. VST Instruments. Size 8.9 MB Traveller is a monophonic synth inspired by Korg Synthe-Bass and it’s overall simplicity. Size 1.4 MB / 2.5 MB / 2.3 MB ModSynthMono is amonophonic synthesizerinspired by EMS SynthiA, Sequential Circuits Prophet. Mono Bass by Boz Digital Labs is a Virtual Effect Audio Plugin for macOS and Windows. It functions as a VST Plugin, an Audio Units Plugin and an RTAS Plugin. Plug-in, App & Soundware Format (s).

Leads are great. They are the sugary surface of any good track. They get you in the door and perk you up.

But we all know what that one special ingredient is… The most important part of arranging and writing songs. It’s the soul of any good track:

The BASS.

But there’s thousands of free VSTs out there. Which ones are good for bass? No sweat. We found all the best ones so you don’t have to dig.

Here’s our 10 favourite free bass VST plugins that will give you bigger, better bass.

Steinberg – Model E

The Model E is a useful 3 oscillator bass station capable of pumping out some nice lines.

The super simple controls make all your options easy to see and tweak. Plus the lower CPU usage means easy breezy basslines in no time.

TAL – Elek7ro

When it comes to free VSTs no one beats TAL. All their free plugins work great and are super useful. I’m a huge fan of their plugins and you should be too.

The Elek7ro is no exception to their history of producing high quality tools. This synth-plug is good for pretty much everything. Including making some nice full basses for your tracks.

It even comes with a super helpful user guide for getting the most out of Elek7ro.

Plogue – Sforzando TableWarp2

The TableWarp2 is part of Plogue’s Sforzando bundle. It’s a versatile synth that gives you tons of classic sounds…

Including some superb mid-low range basses perfect for beefing up your tracks.

NUsofting – Sinnah

The Sinnah is great. It can create cool noisy tones with its 3 channel delay matrix and feedback sculpting.

It also has a pretty solid onboard EQ which really helps bring out the magic in each tone. So you can get tons of control over the bass sounds you create.

TAL – Bassline

I’ve already talked about the TAL-Bassline in an older Free Plugins article. But I had to put it on this list because it’s so good. The Bassline is basically built for better bass.

This plug has a warm analog sound and ‘robust core‘ for all your bass and acid needs. Plus, the TAL Bassline user guide will have your walls rattling in no time.

u-he – TyrellN6

U-he is another major source for some very superb free plugins. The TyrellN6 is a powerful overall plugin that will give you all varieties of nice analog synth sounds.

That means wicked basses too. It also has some nice triggering features that are super fun to play around with and a nice, clean interface for easy tweakage.

The download page is in german. So if you don’t speak German just scroll down to find the download link!

Ample Sound – Ample Bass P Lite II

The Ample Bass P Lite II is a nice electric bass plug perfect for some groovier and more rock-centric bass sounds.

Ample Bass also comes with some nice ‘articulations’ including palm mute, slap and legato slide for those little accents that makes bass pop.

LinPlug – FreeAlpha

This plugin is the free version of LinPlug’s Alpha. But just because it’s the free version doesn’t mean it’s not good. In fact, it’s great!

FreeAlpha‘s 2 oscillators are perfect for all sorts of nice basses and the built-in presets are superb starting points for all types of bass and more.

Bruce Sutherland – JUCEoplvsti

If you ever dreamed of making all those incredible sounds that lived on old DOS games then this plugin is your hot ticket.

JuceOPLVSTI is modelled on the Yamaha OPL sound chip found in some old PC computers.

Juce’s interface is a lot like a video game and is super easy to use to get some superb basses, leads and pretty much any other sound you need from an FM synth.

Synister – Synister

Synister is one of the best looking and easiest to use synth plugins I’ve ever seen. This 3 oscillator synth is perfect for making all types of basslines.

The interface is simple, organized and easy to follow. The effects, envelopes, oscillators, LFOs and filters all have their own drop down menus for an easy workflow. And it even has a built in step sequencer!

The bassline bottomline

A good bassline can make or break a track. Finding the best one for your track can be tricky.

These bass VSTs will give you everything you need to find the right one (Hot tip: Turn your monitors way up while you’re experimenting if you wanna meet the neighbours).

Put these in your DAW, start experimenting and take a trip to the international bass station.

If you’re already set for bass check out our other Free VST Plugin Favourites:

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, 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/free-hip-hop-808-drum-vst-synth.html. – 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.

Vst Plugin Mono Bass Clef

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.

Electric Bass Vst

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.

Vst Plugin Mono Bass Tuner

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.

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.

Vst Plugin Mono Bass Clef

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.

• 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.

Dynamic microphone with cardioid polar pattern.

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.

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.