Tight Low Strings KONTAKT

Team ARCADiA | 04 February 2026 | 944MB

[Original Library & (pre-built .nicnt version)]

Tight Low Strings delivers aggressive, punchy low string staccatos with exceptional clarity and definition. Featuring cellos and double basses captured with a modern sampling approach, where performances were interpreted rather than recorded note-by-note. This preserves natural musical flow and connection between notes, even in fast ostinato passages. Designed for composers who need a powerful, tight bottom end that cuts through the mix without the typical mud and rumble of conventional low string libraries.

iFunk II: Nu Disco Guitars

Team ARCADiA | 02 February 2026 | 4.35 GB

The goal was simple – to create the most versatile contemporary disco guitar collection we could. To deliver those incessant and richly melodic guitar parts in the most useful way we possibly could. The best disco-orientated rhythm guitar parts make your feet itch, they play on the off-beat pulses and can elevate your track’s heartbeat and groove until you simply can’t keep still. In this pack you will find over 800 nuggets of funk that will do just that. I’ll be honest; wrapping up an pack always brings a bit of anxiety about meeting our users’ high expectations. But here, I’m proud to say we’ve nailed it. Drawing from everything we learned from the response to F9 iFunk Volume I, we’ve crafted an exceptional sample pack with streamlined navigation, usability, flexibility and of course – Gallons Of Funk.

4K Channel Dynamics Ultimate AI NEBULA

Team ARCADiA | 01 February 2026 | 76.36 MB

Channel Dynamics from the world’s most successful studio production console which was the first one to incorporate dynamics processing with channel, and a master compressor in the console centre section. It’s the first choice of world’s best audio engineers to give punch, drive and to glue the mix together, maintaining control of the dynamics of single tracks.

EHV 412ST IRs

Team ARCADiA | 31 January 2026 | 86.43 MB

Based on EVH 5150 412ST

EHV 412ST. The perfect match for a modern variation of the brown sound. Loaded as standard, this cabinet features G12EVH speakers, with additional speakers added to deliver a similar tonal palette ranging from a classic greenback-style character to a more modern, aggressive sound, ideal for modern metal

4KeQ Black Ultimate AI

Team ARCADiA | 31 January 2026 | 492.08 MB

This is the last version of the standard E series eQ. The “242” type is the famous and rare equalizer from the early eighteen classic console. Cleaner and punchier than the Brown, you can crank it up but doesn’t distort. Instead, it saturates nicely while staying steady. With taller bell curves it’s perfect for vocals, acoustics instruments and electric guitars.

4K Console Ultimate AI

Team ARCADiA | 31 January 2026 | 220.83 MB

It’s the world’s most successful studio production console. Its reputation is built upon excellence of design, advanced electronic engineering and a sound quality that has produced hundreds of best-selling recordings. A key element in the sound of many of these recordings is the punch and drive of the mixes created by this classic ’80 console. This unit has been serviced and upgraded to give serious punch and animal power with unbelievable cleanness.

Tube Radios Micd Revamped

Team ARCADiA | 27 January 2026 | 492.38 MB

These were made by miking 6 different tube radios from the 1950’s. You might think it seems weird to make effects from tube radios, but forget about that- you should really think of these programs as distortion and tone sculpting power tools, with a lot of the familiar sound of miked speaker cabs. After the major ‘Revamped’ update, you can now crank these programs into overdrive, and each one offers a wide variety of tons and distortions you can use as a tool in your mixes! The update allows you to use each of the three main elements of these programs separately, or together in any combination, in any order, however you want. These elements include- the tone (miked speakers from tube radios), the distortion, and the compression (mainly from the tubes being saturated). For example you could even use parallel processing on a duplicate of a track in your DAW to generate and only take distortion from the program, completely muting the fundamental part of the sound. The result is that you have the original dry track, and a duplicate track being processed in a way where the only output is distortion. Now you could process that distortion separately in different ways, like apply chorus to it. Then you have an effect where only the distortion is being chorused, or reverbed, or whatever other effect you’d like to apply, only to the distortion. The sky (and your imagination) is the limit.