Effect used in this song

Second track, the chord stabs plus whooping noise at 54 seconds sound like a polyphonic synth for the chords and a resonant synthesiser filter sweep with high resonance and some noise in it for the whoop. Or an edited sample of vinyl scratching maybe. Or so,ething else that makes that kind of sound. Lot's of ways to do it.

Then add eq, compression, delay, reverb, limiting, maybe beat slicing depending on how the stutter was created, maybe more filtering, autotune, double-tracking, an enhancer/exciter...., and in more quantities than usually considered wise. That is very tiring music to listen to. :-/

Both those tracks are heavily processed throughout with multiple effects and lots of processing going on all the time. So much processing that identifying exactly what any one of those processes is isn't easy, even if it's possible at all. Especially as I'm not even sure what you want us to listen to out of the whole mix.

That kind of mix, like all mixing, is something you can really only learn to do by mixing and experimenting. I may be wrong, but I doubt any processing or effect used was anything out of the ordinary. It's how they have been combined that creates the sound.

You mean that long, sustained vocal note?

OK, this is a guess and they may well have done it differently, but to create that kind of effect I'd start with autotune, melodyne or similar on the vocal for the pitch and the vibrato/pitch shifts. Rather than try and minimise the audible artifacts from the process for a natural sound, I'd let it sound artificial.

Compress and/or limit to keep the volume constant. EQ to narrow the bandwidth and harmonics down to focus the sound.

As the vocal begins to lose volume there's what sounds like a resonant filter at the same pitch being brought in. That might be done by filtering the vocal track itself, even as simply as ramping up the Q and gain in any eq that'll resonate. Or clone the vocal track, maybe more than once, and apply the filter to one track and mix it with the "straight" vocal track. Or overlay a synth set to produce a sine or triangle wave.

There's also vocal multi-tracking or doubling going on to add width to the vocal and fatten it up some. Plugins like Waves doubler, choruses and flangers can automate the process, it can also be done by cloning the track a few times and shifting them against each other by a few milliseconds, or applying different vibratos in autotune, or several ways I've probably never thought of. Plus an exciter. Lots of exciter.

And sample manipulation as well I suspect.

It's certainly not impossible that there's a "magic plugin" that creates that sound, but if there is I for one have no idea what it might be. Having said that, it's the kind of thing that's quite possible to do in Sonar or any other DAW and Sonar Platinum certainly has enough tools to do it. It does take quite a lot of work, though it's the kind of thing that probably isn't difficult to do once you've done it a few times, found a formula that works and maybe even saved it out as a track template or pro-channel preset.

Which isn't much help when you've never done it of course.

Learning sound engineering and production is like learning anything else. Before you can run you first have to learn to walk.

If you're not familiar with eq, compressors etc. then I suggest starting with them and not relying on presets but learning about how they work and what the controls do. Someone else's presets aren't much use when you're using lots of effects (but eq and compression in particular) because to get the result they did you'd need to be using the same audio they did and run it through the processing at the same level they did.

For example, a preset to focus an eq on a vocal line won't work if the vocal line you're using isn't at the same pitch as the one used to create the preset. A compressor preset won't work unless the audio you're using is at the same volume as the audio used to create the presets and so on.

kamelodic
Well that answers my question -sighs sadly- Looks like ill be sampling the effects from the instrumentals or paying hundreds just have someone mix it for me. I didn't think it required all that since I've seen most effects done with plugins. I have melodyne but only use it to tune as for compressors eq limiters there are only 3 words that describe my usage for them

Balance leveling subtraction. It sucks because the person who did the effect in the video DID NOT do any of this. Kind of unfair to be honest because i dont have a multimillion dollar studio or Dave Pensado in my pocket. But it's whatever looks like I'll just stick to songs without effects in covering. I'm all for work but I'm not about guess and risk messing up when I'm uploading this for people to see when other people are doing it easy but don't want to share the knowledge. Thanks for your help but I think your advice just made me want to give this all up. Maybe I might as well since I can't even do an effect like this

Don't give up! Do like the others do. Practise for a few years and learn the possibilities of soft synths and FX, and sooner or later you can make conclusions about the origins of different sounds yourself. It's not about money or kidnapping Pensado. As TLW elaborately explains in the previous posts (and shares his knowledge), there seldom is a one trick pony to make a certain complicated sound, but it's a combination of maybe dozens of steps.
The possibilities with VSTs (even free ones) are so immense that it's not difficult to create a sound that is nearly impossible to exactly disassemble down to its original elements just by listening. 
 
Also, I'm sure the creators of the sounds don't always know, how they did it. They just play with the knobs and suddenly hear something they like, and save it as a preset without analysing the steps taken.
 
I don't understand this comment of yours:
"I didn't think it required all that since I've seen most effects done with plugins"
as TWL above elaborately explains how you make these kind of sounds with plugins, just not with one plugin.
 
Don't fall into this trap:
"I'm all for work but I'm not about guess and risk messing up when I'm uploading this for people to see when other people are doing it easy but don't want to share the knowledge"
 
Things look easy once you've learned the tricks, and some tricks really are easy once you learn them. If you don't think the project is good enough for uploading "for people to see" , don't upload it. Many people are willing to share their knowledge, but you can't expect them to do so, especially in a case like this when it's practically impossible to tell how to get exactly the same sound without having done it originally, and there are lots of ways to achieve approximately the same result.
 
If it was easy we all would be star producers.
Of course it's possible that somebody chimes in and reveals the name of a single plugin that does what you want :o)
 
 
 

glitch is a VST effect plugin, groove3 is an online video tutorial archive
hth

After listening to the clip, it sounds more like a pitch bend to me.   The tone does "thin out" at the top, but that could be an artifact from the pitch bend itself/an intentional format shift.  
 
Craig posted some good vari-speed tips and tricks a while back, but one that could work well for this case is post # 21 here: http://forum.cakewalk.com/I-Have-Your-Sonar-Tape-Varispeed-Solution-for-Audio-Clips-Come-and-Get-It-m3020405.aspx#
 
He runs through the process of importing the audio clip (sustained vocal line) into Dimension Pro, and then using the pitch bend wheel to alter the pitch as needed.   In this case it could include those series of "wobbles" and then the bigger pitch bend up at the end.   You could also modify Dim Pro's filters over that same period of time to add some resonance or otherwise mangle it.   There are so many possibilities using a method like this, but you will need to do some homework to figure out which options are best suited for your needs.
 
HTH