bx_XL V3 v3.0.1 WiN

TCD | 08 August 2024 | 7.2 MB

x64: AAX, VST3, VST2 | x86: JBridge

The bx_XL V3 empowers mastering engineers to achieve loud mixes without sacrificing clarity. Utilizing the mid/side technology groundbreaking bx_digital EQ, you can split the mid channel into two bands (low and high). This allows for control over three individual channels – mid-low, mid-high, and side – resulting in increased loudness and significantly enhanced clarity with fewer artifacts and greater punch.

bx_XL V3 v3.0.1 MAC

Team MORiA | 08 August 2024 | 58 MB

64Bit: AAX, VST3, AU, VST2

The bx_XL V3 empowers mastering engineers to achieve loud mixes without sacrificing clarity. Utilizing the mid/side technology groundbreaking bx_digital EQ, you can split the mid channel into two bands (low and high). This allows for control over three individual channels – mid-low, mid-high, and side – resulting in increased loudness and significantly enhanced clarity with fewer artifacts and greater punch.

QB3 v1.1 VST x86 WiN

TEAM ASSiGN | 25 DECEMBER 2010 | 16.3 MB

SixtyFive is a vintage-style, RMS Compressor, inspired by the dbx? 165A, a classic 1970’s compressor found in many studios, but it also adds a couple of new twists. It’s a soft-knee RMS compressor with a vintage flavour. The RMS detection and soft-knee help to give a smooth and musical compression experience, the non-linear response imparts character and the gentle saturation brings colour and warmth. As well as all of the originals features, this version adds parallel compression, extended knob ranges and peak metering. sixtyfive can deliver a range of compression from gentle smoothing of vocal performances to brutal slamming of your drum buss. Enjoy!

DC8C v3.3.2 WiN MAC

SYNTHiC4TE | June 11 2021 | 71 MB

Advanced Compressor

DC8C is one of the most flexible compressors around.

While making a lot of different compression styles possible, it’s general nature may be described as: clear, smooth, open, distinct.The main goal while designing DC8C was to get a very clean compressor action without unwanted and often almost unevitable artefacts/distortion. This way you can achieve almost invisible compression for your most demanding mastering sessions, when you want to avoid coloration. If you aim for colour you can choose between two saturation models. From opto style, peak compression, RMS compression, Feedback, Feedforward compression (and everything inbetween) to negative ratios, zero latency brickwall limiting, from snappy transient treatment to smooth transient rounding – everything is possible.