This pack contains three plugins by well-known Steven Massey in VST format: CT5 Compressor, TapeHead Saturator and vt3 EQ. Porting the whole series to VST was planned, but cancelled halfway and even mentions of it were removed from the developer’s site. I designed the CT5 to have both electro-optical and vari-mu characteristics.
SHN-1 delivers sounds from a warm analogue to a rich digital ambience. 32 different types of wave tables feed two multimode filters, two distortion and two effect units. 1024 possible waveforms (32×32) give the ability to create warm pads, unique lead sounds, amazing chord stacks, deep techno basses, electric basses, dance basses, unique synthetic drums, thrilling special fx, e-pianos, clavinets, organs and previously unknown soundscapes.
What do you need to do when you have two audio sources, with similar spectral content, and you would like to mix them in a balanced way so that each of the individual parts can be heard? Normally you may spend hours fiddling with the EQ of each source to find the dominant spectral components. Having done this you then need to tweak each EQ until a suitable balance is reached. All the time being sure that a constant volume is achieved. Using the similar, innovative, communicating plug-in technology used in Clone Boy, Space Boy makes it possible to perform this, normally complex, EQ process in a matter of minutes using just a few sliders. Space Boy, as the name suggests, provides the means to analyse, in real-time, the spectrum of one audio source and make a ‘space’ in the spectrum of another (target) audio source. Not only this, but the ever changing relationship between the different EQs of each source is automatically accommodated in real-time. This means that EQ adjustments are made only when needed.
FinalLoud 2 is a loudness and True Peak finalizer tool. It is the successor of FinalLoud. FinalLoud 2 solves quickly a very common challenge in audio engineering: reaching a certain target loudness level for any audio material while maintaining given True Peak ceiling. Therefore FinalLoud 2 combines a gain control, a high quality True Peak limiter and an accurate loudness meter under an easy-to-use interface. The gain control pushes the loudness level to the target level and in parallel the limiter ensures the True Peak ceiling.
4 Very good VST 32 Bit Drum Modules. GUI works by Acquit Music. (c)2005.
SDRR was build to satisfy almost all of your saturation desires. It provides a comprehensive set of controls to manipulate the character of the saturation to make it fit exactly. SDRR offers four different main modes: TUBE, DIGI, FUZZ, DESK and reacts dynamically to the input signal. Each mode has it’s unique crosstalk behaviour, which can be switched of or exagerrated. A unique RMS level difference metering mode makes level matching an easy task. SDRR can be different things: a saturation, a compressor, an EQ, a bitcrusher, a subtle stereo widener, or simply add some movement to your tracks with the DRIFT control. Add warmth, depth and character to your tracks with SDRR.
What’s EVE? EVE stands for Electronic Vintage Ensemble, which suggests the design philosophy behind the instrument. EVE was made to recreate in the virtual world of softsynths the exciting and immediate experience of the early age of electronics in pop, rock and jazz music from the 1960’s and 1970’s. During this creative period in music history, many musicians started to employ the innovative sounds of the ‘electric keyboards’ which were newly available for use on stage and in the studio: Rhodes electric pianos, Hammond and Vox organs, Hohner clavinets, strings machines such as the Arp Solina string ensemble, Moog synthesizers, and all those that are now considered ‘classics’. It was not only keyboards that were a part of this revolution in popular music: the use of effects and recording techniques for layering, blending and manipulating sounds transformed the way music was produced and conceptualized. Tape based delay lines, rotating speaker cabinets, guitar distortion pedals, wah wah, phasing, flanging and other effects became an integral part of the process of sound design.
