The craftsmanship of Hardware Amplifiers meets the versatility of DSP. And it all starts with Mr. Hector a well-known and universally loved boutique amplifier from Laboga. Digitally recreated. Tuned to perfection. Every detail profiled for accurate, familiar sound.
New reference in the simulation of spring reverbs. Based on a mixed convolution and algorithmic technology, SpringAge can give the advantages of the two worlds. If you have never been able to get the real tone and dynamic of a spring reverb out of a plugin, then you need to check it out. With three spring models, taken from the most standard and acclaimed vintage and modern gears, SpringAge always gives you the perfect tone on any kind of instrument, ranging from guitars to vocals, keyboards and synthesizer. Your recordings will have that vintage and dynamic reverb tone, that you cannot get from a digital reverberation unit.
FX Collection 5 is a Reference effects for music makers. A selection of 34 studio mixing tools and creative production effects, from authentic analog emulations to innovative modern plugins – engineered to help you discover your unique sound and make it impactful.
The 112dB Mikron series is all about simplicity. We believe that too many features can stand in the way of the creative process. Simply said: more features also means more tweaking and having to delve into all kind of technical details. And that often distracts you from what it’s al about: creating music. You really don’t need that many knobs to get a great sound. The effect pedals for guitars are a perfect example of this. Their limited functionality is more than compensated by their fun to use. Or do you really believe that Jimi Hendrix and Kurt Cobain would have made better music if they just had these few extra knobs on their stompboxes? Limitations often inspire creativity instead of blocking it.
More than a decade ago, I made a version of this in WDL (thanks Rob!) to deal with the problem of “one note bass” and dealing with overly loud or overly dead bass notes across the bass fret-board. My mastering engineer ended up using it for far more things, and I have been meaning to update it ever since. In this version, you actually have a limiter per band. In earlier versions, just EQ-ing a hole sometimes caused more problems than it fixed, but now, with the limiter, you can get a hold of the mix when its making trouble and leave it alone when it isn’t! Click “E” (for Enable, were still deciding on the name) in order to enable a band (they are off by default) and “D” in an enabled band to turn on the limiter. Switch octaves with the +/- buttons under the spectrum. Note that the octaves are shown in the spectrum display so you don’t have to do the math.
TEOTE is an automatic spectral balancer plugin for professional music production applications. It was designed to be a very useful tool for both mixing and mastering. It automatically performs such tasks like gentle resonances taming, de-essing, tilt equalizing, usually performed during mixing and mastering. In mixing, TEOTE sounds good on pretty much any material. While by definition TEOTE is a dynamic equalizer, its technology is solely based on multi-band dynamics processing. This allows TEOTE to have only minor phase issues, and to produce a subtle transient-emphasis effect associated with dynamics processing. TEOTE tries to make the program material follow the specified spectral profile, tuned to the contemporary mastering standards by default. It can be said that TEOTE “straightens” the frequency response, making further adjustments a lot easier; it removes a lot of repeating work. Is TEOTE an AI plugin? In a sense that AI usually boils down to a “curve-fitting task”, TEOTE is an AI plugin that performs gain adjustment decisions in a quantity equal to “SampleRate multiplied by BandCount” per second. However, TEOTE does not use neural networks; it is based on an extremely-refined, completely predictable, curve-fitting function.
FFT has announced availability of FFT Pro-Q 2, a major update to the Pro-Q equalizer plug-in. New features such as Full Screen mode, unique Natural Phase processing, Auto Gain, Spectrum Grab, Gain-Q interaction and slope support for all filter types make Pro-Q 2 better than its predecessor in every way, while staying true to the original vision of combining high sound quality with unsurpassed interface workflow.
