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Home Plug-Ins Page 6

Plug-Ins

Plug-Ins and Standalone tools for all of you mixing and sound design needs

  • The NR800 is a real-time noise reduction processor, useful for music production, post production, and live sound.

    The NR800 operates with no internal latency, and does not contaminate the original source material with artifacts such as those found by noise reduction plug-ins that utilize transform-based processing.

    The NR800 operates on mostly broad band frequencies, but can also be focused in a narrow portion of the frequency spectrum using noise reduction focus points. A set of input filters and be configured with slopes up to 36 dB/Oct, and can be set at frequencies independent of noise reduction focus points.
    Several noise reduction modes can be selected from the NR Mode control to provide a range of smooth to aggressive noise reduction amounts. A Range control can be used to scale the overall noise reduction from 100% to 0% (off). An ‘x2’ mode will also double the noise reduction amounts in all bands, when less finely tuned adjustment is needed, or when noise problems are severe. The Response time controls how fast the noise reduction recovers from a ‘noise event’. An NR Bias selector allows different noise reduction amounts to be activated when ‘snapping’ the noise reduction gain and thresholds to the input signal.
    Each of the 8 bands in the NR800 has a noise reduction amount fader and noise detection threshold marker, and the usual McDSP linking control capabilities from a master (M) and linked (L) control button paradigm. Each band may also be individually bypassed or soloed to audition incoming noise amounts.

    Features

    • HPF and LPF pre-filtering
    • Eight bands of focusable noise reduction
    • Noise reduction mode and bias options
    • Overall noise reduction range and response control
    • McDSP Emmy Award winning engineering

    Formats
    • Native v6: AAX Native, AU, VST

  • 3 mic perspectives give full coverage on an antique typewriter in good working condition.  The typewriter had a loose front plate and we clacked, hit and dropped it for a wide range of cool typewritery sounds. The Kontakt instrument presets requires the full version of NI Kontakt 4.2.3 or later.

    Note: Can be used without Kontakt too!
    All Kontakt instrument libraries include fully unlocked and accessible metadata tagged .wav files. You don't need any version of Kontakt to use these files as a standalone sample library.

  • FabFilter has put tremendous effort in creating the best cut-off filter ever. Their new design approach has resulted in the fattest and smoothest self-oscillating digital filter you have ever heard. It has been tuned carefully to achieve the character and warmth of a classic analog synthesizer. FabFilter One’s filter sounds raw but never cheap or ‘digital’, even at full resonance.
    The filter is fed by an equally high-quality solid-sounding oscillator, developed from scratch to be completely aliasing-free. It features sawtooth, triangle, and square wave forms with pulse width modulation.

    The oscillator and the filter can be modulated by the LFO and the EG. The LFO offers triangle and square wave forms, with adjustable wave balance so any wave form between sawtooth and triangle can be selected. The tempo can be synchronized to the host. The EG has the usual ADSR knobs, but with a perfectly fine-tuned feel. Also, it has an additional Hold setting that extends the time keys are held down.

    What FabFilter One excels at is the attention to detail and fine-tuning that is visible throughout the plug-in. For example, the portamento feature doesn’t just slide from one note to another, but uses a carefully selected algorithm to make your playing livelier and give it just that little extra bit of magic.

    Smart Parameter Interpolation handles changes to any of FabFilter One’s parameters, ensuring both responsiveness and smooth transitions. There are no annoying digital clicks and zipper effects, and even MIDI controller changes are handled perfectly smooth.

    Naturally, the FabFilter One plug-in handles all parameter changes at sample accuracy and it can be used with arbitrary sample rates. All parameters are fully automatable within your favorite host and via MIDI Learn. The included help file describes all features of FabFilter One in detail, together with overviews and tutorials to create various types of sounds.

    Features

      • Aliasing-free high quality oscillator with triangle, sawtooth, and square wave forms
      • Fat and ultra-smooth self-oscillating low-pass filter
      • LFO with tempo sync, triangle and square wave forms, and adjustable wave balance
      • Fine-tuned EG with additional Hold setting
      • Frequency and filter cut-off modulation
      • Pulse width modulation
      • Filter keyboard tracking
      • Velocity sensitivity
      • 10-voice polyphony
      • White/pink noise generator
      • Smooth portamento
      • Over 100 presets
      • Undo and redo
      • MIDI learn
      • Smart Parameter Interpolation
      • Sample-accurate automation of all parameters
      • Parameter value display
      • Extensive help file
  • Destruction & Impact Sounds Piano, Mallet Strikes and FX Play Track 463-972 sounds included, 104 mins total From: $25

    Have you ever dreamt of attacking a piano with a metal mallet? Dream no more! This library is available in two versions, a discounted bundle, and also in the further discounted “2017 InspectorJ Bundle” for 50% off!

    Piano, Mallet Strikes: (1.44 GB)
    Recorded at 96kHz/24-bit stereo, this collection of sounds brings you 463 sampler-based metal mallet strikes with five variations. As opposed to playing the piano normally, these sounds were created by striking the string with a metal mallet, creating a harsher attack and a unique plucky percussive sound.

    The sounds have been mapped to Kontakt 5 patches for quicker playing (requires the full version of Kontakt 5), but the raw files are also included. The five different samplers offer you a wide variety of durations:

    Damped instantly (84 sounds; five octaves)
    Damped after 1 second (97 sounds; seven octaves)
    Damped after 2 seconds (97 sounds; seven octaves)
    Damped after 5 seconds (88 sounds; six octaves)
    Sustained fully (97 sounds; seven octaves)

    Piano, Mallet FX: (1.62 GB)
    This collection of sounds brings you 509 FX sounds of various scrapes, hits and glissandos across the piano strings with a metal mallet, offering significant number of variations. Every sound was recorded at 96kHz/24-bit stereo.
    Piano, Mallet Strikes and FX: (3.06 GB)
    This collection of sounds is a discounted bundle of two libraries – “Piano, Mallet FX” and “Piano, Mallet Strikes” – to give you 509 FX sounds of various scrapes, hits and glissandos across the strings, as well as 463 sampler-based mallet strikes with five variations. Every sound was recorded at 96kHz/24-bit stereo.
  • Instruments Ponticello Play Track 90 sounds included $26

    The “Cedar” library series is a collection of libraries, comprised of three different instruments:

    – Ponticello (the present one)

    – Sul Tasto

    – Bizzarro

    Each volume is a single Kontakt instrument with a peculiar timbral personality. The entire series is created recording sounds from a luthier classical guitar. They can be used for composing and producing purposes – like an acoustic percussion setup – as well as for soundtrack composition and sound design in films, video games and any other multimedia product. “Ponticello” and “Sul Tasto” also feature a dedicated effects page that can be used to process the sounds in the library with several processors, both send and insert effects. They are “percussion oriented” sounds, while “Bizzarro” is a keyboard instrument.

    Introduction to “Ponticello”

    The instrument contains 10 sets of sounds, called “Engines”. Each set has a dedicated channel strip in the interface and can be processed with a dedicated sub-page. You can also choose an individual audio output for further processing in your favorite DAW with effect plugins of your choice. Each sound has been recorded with two different mic placements, and you can mix them to your taste.

  • Loudness Batch Processing
    ppmBatch allows you to analyze and normalize your audio files according to various broadcasting loudness standards. It batch processes files in multiple real time and provides intuitive user feedback about each file’s compliance status and processing progress. Measurement results are displayed in a clearly arranged, customizable user interface.

    ppmBatch comes with presets for the most common broadcasting standards. It enables you to modify these presets and to setup your own profiles. You can create summary report files for a selection of audio files, as well as more detailed reports for each individual file.

    ppmBatch is the perfect tool for post production, archive converting and automatic normalizing of every-day broadcast reports.


    Key Features

    • fast scan & normalize of multiple files
    • support for multi-channel and multi-mono files
    • default loudness presets for EBU R 128, ATSC A/85, ITU-R BS.1770, ARIB TR-B32, FreeTV OP-59
    • drag and drop
    • support for broadcast wav audio
    • single and overall status reports

    Technical Specifications

    • supported input formats: wav, aif, mp3, ogg, wma, flac
    • Min. system CPU: 2GHz
    • OSX min. 10.8, Windows min. 7
    • AAX native, AU, Mac, VST, Win

  • Professional Peak and Loudness Metering

    PPMulatorXL is a cross-platform plug-in meter for digital audio workstations which exactly mimics the look and feel of a professional broadcast Peak Programme Meter (PPM). PPMulatorXL has also included a EBU R.128 compliant loudness metering and a amazingly fast offline metering for audio files in standalone mode.
    By adding this plugin to the master output of your audio editing program, you can record, edit, mix and export your audio within a precisely-calibrated workspace – something which is often impossible to do when working in a non-studio environment.

    PPMulatorXL is designed to closely-follow the ballistics of mono, stereo, mid-side (MS) and surround (5.1) PPM meters (conforming to IEC 268-10/DIN 45406) and has a number of built-in additional features, including various display style options and a highly-useful Peak Logging process which logs all peaks/overloads against the time code in the host application where they occurred.


    Key Features:

    • Customizable and resizable layouts and channel labeling
    • Audio file batch processing (PPMulatorXL only)
    • Automated peak logging with export
    • Mono gain trim to M3 (-3dB) or M6 (-6dB) standards
    • Phase correlation meter & Goniometer
    • Reference tone generator for meter alignment and calibration
    • Multi-channel support up to six channels

    Supported Standards:

    • IEC 268-10 Type I: Nordic N9
    • IEC 268-10 Type I: DIN 45406
    • IEC 268-10 Type IIa: BBC scale
    • IEC 268-10 Type IIb: EBU scale
    • ITU-R BS.1770-2: True Peak Meter
    • EBU R128 (2011): Loudness Meter (PPMulatorXL only)

    Technical Specifications:

    • Audio format: Mono/ Stereo/ Mid-Side/ 5.1, 32-192kHz sample rate
    • Min. system CPU: 1GHz
    • OS: Mac OS min 10.6
    • Windows min. XP
    • Host: Pro Tools >= V9
    • Plugin format: RTAS, AAX, AU, VST + Standalone application

  • Peak & Loudness Metering Plug-in

    PPMulator is a cross-platform plug-in meter for digital audio workstations which exactly mimics the look and feel of a professional broadcast Peak Programme Meter (PPM). This plugin provides a precisely calibrated workspace for recording, editing, mixing and mastering.

    The plug-in is available in two versions: PPMulator+ and PPMulatorXL; the latter offers additional features such as EBU R128 loudness metering and batch audio file processing.


    Key Features

    • Customizable and resizable layouts and channel labeling
    • Automated peak logging with export
    • Mono gain trim to M3 (-3dB) or M6 (-6dB) standards
    • Phase correlation meter & Goniometer
    • Reference tone generator for meter alignment and calibration
    • Multi-channel support up to six channels

    Supported Standards:

    • IEC 268-10 Type I: Nordic N9
    • IEC 268-10 Type I: DIN 45406
    • IEC 268-10 Type IIa: BBC scale
    • IEC 268-10 Type IIb: EBU scale
    • ITU-R BS.1770-2: True Peak Meter

    Technical Specifications

    • Audio format: Mono/ Stereo/ Mid-Side/ 5.1, 32-192kHz sample rate
    • Min. system CPU: 1GHz
    • OS: Mac OS min 10.6
    • Windows min. XP
    • Host: Pro Tools >= V9
    • Plugin format: RTAS, AAX, AU, VST + Standalone application

  • FabFilter Pro-C 2 is a high-quality compressor plug-in for the most demanding engineers. Whether you need subtle mastering compression, an upfront lead vocal, that magic drum glue or deep EDM pumping: Pro-C 2 gets the job done with style!

    Pro-C 2 offers eight different, program-dependent compression styles with beautiful sound and character. But there’s more! Apart from the classic compressor controls, you also get smooth lookahead, up to 4x oversampling, intelligent auto-gain and auto-release, a variable knee, hold, range, external side-chain triggering, variable stereo linking and mid/side processing, all packed in a beautiful Retina user interface.

  • Even when using the best mics, pre-amps and converters, sibilance in vocal recordings can easily get over-accentuated during post-processing like compression or saturation. But don’t worry, FabFilter Pro-DS comes to the rescue!

    With its highly intelligent ‘Single Vocal’ detection algorithm, FabFilter Pro-DS accurately identifies sibilance in vocal recordings and attenuates it transparently.

    When using the ‘Allround’ mode, Pro-DS becomes a great tool for high-frequency limiting of any material, like drums or even full mixes. Try it out yourself!

    FabFilter Pro-DS offers everything you need to get the best result possible, presented in a simple and easy-to-use interface. Wide band or linear-phase split band processing, an optional look-ahead of up to 15 ms, adjustable stereo linking with optional mid-only or side-only processing, up to four times linear-phase oversampling… it’s all there.

  • A good gate/expander is an indispensable tool in any mixing or live situation. FabFilter Pro-G offers everything you could wish for: perfectly tuned algorithms, complete control over the side chain and channel linking, excellent metering and great interface design.

    Apart from excellent sound, FabFilter Pro-G also provides very flexible routing. You can choose between mono, stereo or mid/side processing and in expert mode, external side chain input is available with completely customizable channel linking and routing.

  • Pro L2 is a major update to the Pro-L limiter plug-in. With four brand-new limiting algorithms, “Modern” for general all-purpose limiting , “aggressive” for EDM and rock music, “Bus” specific for drums and individual track limiting and “Safe” which avoids distortion at all costs. Also newly added is the true peak limiting mode which makes it extremely easy to hit a maximum true peak target. Combined with improved true peak metering and extensive loudness metering that’s compliant with the EBU R128, ITU-R BS.1770-4, and ATSC A/85 standards.

    Complete support for surround audio with flexible channel linking makes Pro-L 2 much more versatile in multi-channel scenarios, while the sound quality is even higher than before with up to 32x linear phase oversampling. New features like a DC offset filter, external side chain triggering for stem mastering, and a Unity Gain option ensure that Pro-L 2 is the solution to any mastering challenge.

    The unique real-time level display is now even more effective with new innovative display modes, including an Infinite mode that shows all audio for an entire session. Moments of significant gain reduction are highlighted with peak labels to give additional insight in the limiting process. The interface has been carefully redesigned to be aesthetically pleasing with a perfectly optimized workflow.

  • Multiband compression and expansion are powerful tools, but notoriously difficult to set up and control. Enter FabFilter Pro-MB: making multiband dynamics processing intuitive yet powerful at the same time.

    FabFilter Pro-MB introduces a unique Dynamic Phase processing mode. It has virtually the same frequency response as traditional multiband processing, but doesn’t introduce latency or pre-ringing, and only introduces minor phase changes when the gain actually changes. Of course, we have also included an excellent Linear Phase mode and a traditional Minimum Phase mode.

    The powerful combination of high quality processing, optimized workflow using the interactive multiband display and all the expert features you need, makes Pro-MB both a lifesaver and timesaver!

  • An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.

    Mixing and mastering features
    Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.

    Effortlessly sculpt your sound
    FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
    Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!

    FabFilter goodies
    Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.

  • Upgrade to Pro-Q3 from Pro-Q1 or 2

    An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.

    Mixing and mastering features
    Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.

    Effortlessly sculpt your sound
    FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
    Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!

    FabFilter goodies
    Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.

  • Pro-R 2 brings a raft of new next-gen features to what was already a widely respected reverb plug-in, including comprehensive multichannel compatibility, two brand-new reverb algorithms, IR import and replication, ducking and gating functions, analog-style saturation, and much more. It is a huge technological and functional leap forward for the plug-in, and one made without any compromise to the slick workflow and stellar sound quality that Pro-R users already know and love.

    Full immersive audio support
    Place reverbs in three-dimensional space with support for immersive channel layouts up to 9.1.6 Dolby Atmos. Pro-R 2 configures itself for multichannel formats automatically whenever it is added to a surround channel, and individual Decay Rate and Post EQ bands can be applied to any combination of channels using the new Speakers panel. Meanwhile, the new Surround Settings panel provides straightforward controls for balancing the relative levels of every reverb parameter — Predelay, Character, Decay Rate, etc — between the front and back of the immersive space. A massive amount of work has gone into the implementation of surround cross feeding, delivering an exceptionally convincing sense of space; and with its intuitive approach and liberating flexibility, ProR 2 yields spectacular results without letting complicated channel routing get in the way of creativity.

    All-new Vintage and Plate reverb Styles
    Expanding on the clean, natural sound of Pro-R, Pro-R 2 introduces two new reverb algorithms that bring a diversity of retro flavors to mixes. ‘Vintage’ is inspired by classic digital reverb units of the ’80s and ’90s, and is the go-to for long, bright hyper-real spatial ambiences, while ‘Plate’ serves up the evocative metallic sound of plate reverb — ideal for drums and vocals. Together, the two new styles broaden Pro-R 2’s spatializing remit out from the realistic physical environments for which its predecessor was known into more overtly synthetic textural territory.

    Impulse response (IR) import
    As if tripling the number of reverb styles on offer was not enough, Pro-R 2 also adds the ability to import impulse responses and have them automatically recreated as algorithmic setups — including Decay Rate and Post EQ shaping — that closely match their sonic characteristics. Whether wanting to binge on the vast array of free impulse responses available online, or capture and emulate favorite vocal booth, drum room, or hardware reverb in Pro-R 2, IR import opens up a whole new world of possibilities.

    Extended reverb parameters and controls
    Pro-R 2 provides even more tools with which to design dream reverbs. Set the wet signal level to drop whenever the dry signal is present with the Ducking control; dial in density and saturation with the Thickness knob; get your Phil Collins on with the tempo-syncable Auto Gate; and capture and hold the tail indefinitely with a click of the Freeze button. No matter what anyone’s reverberation goal might be, Pro-R 2 has everything needed to realize it.

    Full-featured preset browser
    A great improvement on the simple hierarchical menu of Pro-R, Pro-R 2’s streamlined new preset browser makes it easier than ever to navigate and manage the factory library and user presets. Assign editable tags for filtered searching, set presets as favorites for one-click filtering, and add author names and text descriptions. And if the original Pro-R is installed then all its presets appear in Pro-R 2’s library as well.

  • PSP 2445 EMT is a reverb processor plug-in (VST, AAX and RTAS for Windows; AudioUnit, VST, AAX and RTAS for Mac OSX) inspired by two legendary early digital age reverberators: the EMT® 244 and the EMT® 245. PSP thoroughly researched how to bring the specific features of those simple, yet very musical sounding reverbs to life as a plug-in. We then improved from the originals with a handy set of parameters to control details of the sound and mix the reverb not available in the original hardware. The PSP 2445 is capable of processing using one selected engine or both of them simultaneously.

    The reverb algorithms implemented in PSP 2445 are based on original algorithms designed by Dr. Barry Blesser (one of the grandfathers of the digital audio revolution). Thanks to Barry’s extensive consultation and support our algorithms sound as good as the originals and plug-in could be officially endorsed by EMT Studiotechnik GmbH.

  • PSP 608 MD is perhaps the most fully featured delay plug-in available on the market (VST, AudioUnit, RTAS and AAX format for Mac OSX Universal Binary and VST, AAX and RTAS format for Windows). We have striven to offer you a creative tool that is not only functional, but inspiring. Each tap has selectable feedback, stereo image and position, delay time, multimode filter, modulation, drive/tape saturation, and reverb. Moreover, the feedback and drive can be placed at the beginning or end of the signal chain for even more sound design options! The modulation section consists of both an LFO and Envelope follower, and the tape saturation algorithm is taken from our renowned mastering processors. And of course all this can be done at any bit depth and sample rate up to 24-bit, 192kHz, and be fully automated via MIDI and any host sequencer.

  • PSP 85 is the product of our eternal fascination with the endless possibilities offered by variable sample rate delay lines. PSP 85 benefits from aggressive algorithm optimization and adds numerous significant new features. The plug-in comes with sixty wild and twisted new presets designed to highlight its exciting new attributes.

  • PSP B-Scanner is an emulation of the analog scanner-based effect available in the most sought-after models of vintage Hammond® tonewheel organs (such as B-3, C-3, A-100 and others). Although the PSP B-Scanner has been meticulously designed to recreate the classic sound of the Hammond® B-3 Vibrato and Chorus, it offers a wide range of options allowing you to maximize the potential of this unique effect.

  • PSP BussPressor is a compressor optimized for group and master buss processing. It combines the sound of classic VCA compression with wide tuning capabilities. Extra controls allow you to adjust a side chain high pass filter or apply parallel compression. It’s also worth mentioning that the PSP BussPressor is part of our series Zero Latency Processing plug-ins; no additional latency is critical in many situations such as live monitoring and managing automation.

  • PSP ClassicQ is inspired by various classic British-style equalizers. It captures the sound and flavor of famously musical high and low filters (such as those in early Neve EQs), melded to very precise mid-range filter. In addition, PSP ClassicQ offers a selectable simulation of class A circuitry and output transformer for a unique, vintage-style color. To its classic features PSP ClassicQ adds extremely useful features such as an adjustable high pass filter, switchable Q for low- and high-shelf filters, and a sweepable midrange bell-type filter. The design of PSP ClassicQ lends it especially well to fixing and shaping individual tracks.

  • PSP ConsoleQ captures the sound character and functionality of various classic British console equalizers including flexible AMEK eqs. Although it takes inspiration from these analog classics we added several features such as an adjustable high pass filter, steepness (resonance) control for the shelving filters, and three nominal Q values for midrange filters. In addition to its other many musical features we designed PSP ConsoleQ’s midrange bell type filters so that they have gain following Q factors. By this, we mean that the Q factor of these filters gradually increases along with increases in boost or attenuation. The ConsoleQ is specially designed for deep track tweaking to get the desired sound for a track, or just to get great track separation in the mix.

  • The PSP Delay Bundle is a collection of 5 powerful delay plugins from PSPaudioware discounts at 51%. This Bundle offers highly creative delays, advanced delays with 8 highly configurable taps, tape delays and modeled iconic Lexicon delays. This collection is a powerful toolkit for every process in the production chain from creation, mixing, mastering, post and education.

    BUNDLE CONTENTS:
    PSP stompDelay
    Lexicon PSP42
    PSP 85
    PSP 608MD
    PSP Echo

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