The BBE Sonic Sweet v4 plug-ins gives you exactly the same brightness, clarity, and fullness as the hardware modules with the added bonus of being fully automatisable. The “Sonic Sweet” bundle consists of four amazing plug-ins that bring the legendary BBE Sound into your productions.
Created with Plugivery Development, Stomp Board is a standalone host application/plug-in including a guitar preamp section and 8 guitar effect pedals taken from the original BBE Stomp Ware classics. Stomp Board is available now in AAX, AU, VST and VST3 format for Windows and macOS from worldwide dealers.
The ultimate “80’s Vibe” reverb plug-in.. 80’s Spaces “magically” emulates the typical reverbs and space effect units used by legendary artists such as Michael Jackson, Madonna, Duran Duran, Guns N’ Roses, Tears for Fears, David Bowie, Depeche Mode, U2, Eurythmics, George Michael, Phil Collins, Queen and so many others.
The Analog Mastering Tools (AMT) include three processors that sets a new standard for mixing and mastering your music with a subtlety and musical character reminiscent of tube systems.
Nomad Factory digitally recreated the Equalizer and Master Bus Compressor/Limiter which were part of a well known ‘British’ mixing console. Designed to improve the quality of digital sound recordings, these plug-ins provide a simple and functional vintage-style interface, as well as low CPU consumption for lightening-fast processing.
OP-X PRO-3 is a 12-voice semi-modular virtual analog synth based on OP-X PRO-II which includes all sounds and features of OP-X PRO-II and fullfills virtually all requests and wishes from users collected over the recent years. Due to its massive features and flexibility OP-X PRO-3 is able to emulate the typical sounds of almost ANY analog synth of the late 70s and 80s including OB-X, Matrix-12, Jupiter-8, Prophet-5 and even Minimoog. The same as its precedessors did since 2006 the synth engine of OP-X PRO-3 exactly clones the inner working of real voltage controlled polyphonic analog synths of the late 70s and 80s in every tiny detail. This includes that each voice is a completely independend mono-synth sitting on a separate circuit board or in a separate circuit section on a common board and features tuning trimpots to wipe-out the differences caused by device tolerances which usually was done by a technician prior to shipping. For the user the synths usually offered an autotune function which sent an offset voltage to the voice boards to flatten differences which again could arise caused by warm-up drift and thermal shifting of the trimpots and devices. Early synths only offered this for oscillater pitch, but later synths like Matrix-12 also for filters and other parameters. This is offered too in OP-X PRO-3 and the same as in the originals you usually manage the tuning only uning the atotune unit and not by tweaking trimpots everytime which would be cubersome, but with the advantage that you can go forth and back (so tune and detune again) and even can tune or detune seamlessly, so seamlessly blend between the tuned and detuned state.
Stringer contains sample sets of the ARP Omni II, the Logan String Melody II and the Welson Symphony in two engines that can be mixed and layered: The sonic result of a sample based instrument is highly dependent on the way the samples have been converted, recorded, cut and looped. You’ll never gain back what you lose e.g. using a bad clock. For the Stringer, every key of the original instruments was sampled using top notch Apogee converters. The samples were recorded at full 24-bit/44.1kHz depth to capture every detail. A lot of time went in the perfect restoration and looping of the 241 samples – the loop lengths are up to four seconds and preserve the original beats. The sonic result is outstanding and nearly indistinguishable from the original. The real string machines that were sampled for this project are highly sought after and are rare and expensive on the used market.
