Rarefied tube emulation with a fat tone that breaks up in delicious ways, growing increasingly crusty but never harsh. This rarefied tube emulation has a fat tone that breaks up in delicious ways, growing increasingly crusty but never harsh, turning cymbals from brass to gold, and gluing bass into a molten fiery blob of love. Pairs perfectly with the Omega Mic Pre.
The Prince. All hail the new sound Over 130 source samples from numerous vintage synths, complemented by a plethora of controls and effects to help you craft your perfect sound.
The God Mode introduces a new push-pull technology giving you full control over what frequencies to saturate and distort. It’s node EQ graph and linear phase filters allow for unlimited options to shape the coloration of your sound. The push-pull technology is inspired by the legendary analog Pultec EQ, a passive tube eq from the 50s, widely used in the 70s/80s for both broadcasting and mixing. The Pultec EQ would ‘push’ the gain for a certain frequency range into its tube circuit, and would then ‘pull’ it back again, to smooth out the frequency response. This creates a sound close to the original but with a nice warmth added to the boosted frequency ranges. The God Mode introduces a modern version of this technique. The first step to using the God Mode is to boost or ‘push’ certain frequencies in your track that you like to be more saturated or distorted. You can for example use one shelf to boost the highs and one peak to boost a certain color or resonance. Because you push these frequencies harder into the saturation algorithm, they will be naturally more affected by it. The second step is to decide if and how much ‘pull’ to apply to the boosted frequencies. This gives you creative control over the amount of coloration and the option to create a perfectly balanced frequency response for your track.
The goal of the denise Perfect Plate reverb is to easily manipulate your tracks in supernatural ways with supernatural sound quality. The Perfect Plate XL offers refined control over the key aspects that determine a plate’s sound, resulting in new possibilities to shape and combine plate reverb styles: make drums sound huge, like played in a oil tanker, give vocals a classic dreamy vintage reverb or make them sound like a resonating synth drone that rotates in the stereo field. We do this by utilizing our TXVerb™ technology known from the Perfect Room, praised by many engineers as the best natural reverb out there. To go even further beyond the realms of traditional reverb, we added tailor-made effects to work seamlessly with our core TXVerb™ technology. We challenge you to go supernatural with the resonator, drive, rotator & detune – and don’t forget about the internal ducker!
Complete, Not Complex. If there is a single plugin to take to the desert island, it’s the VCS-1. This zero latency channel strip integrates all the tools needed for instant signal enhancement and dynamics control… and then some! Complexity remains under the hood, as the user interface is based on a comprehensive, practical layout which supports a nimble workflow and is easy on the eyes.
Upright bass was sampled from the pluckings of a gigging upright bass player. The bass itself was an inherited instrument from the musician’s grandfather. The exact age of the bass is not known, but it had seen some action, and although a little beat-up, still sounded great! To produce this library, the bass was sampled through a close-miced stereo pair of Shure SM81’s, an AKG D112, a Neumann Tlm 102 and a “di” bridge pickup. During mixing, it was decided that the SM81’s blended with the D112 gave the best overall tone. The bass was sampled over the course of a few 10 hour sessions, where the bass player played plucked notes, slap bass, and slides. Boy, did his fingers burn after those slides!
