Virtual Plug-ins

Already familiar with the Production Bundle? Learn how v4 is different.The MH Production Bundle is a suite of signal processing plug-ins that let you stop recording and start making records. With all the critical tools you need to shape, tame, manipulate, and master your tracks, it is the essential audio engineering toolset that no one should be without.The Production Bundle includes 10 fantastic sounding plugins that will help you bring your work to new levels:Updated MH ChannelStripLegendary channel strip processing for all DAWsNew! MH Sonic EQThe Original Digital Mastering EQLegendary Sound, Precision and VersatilityNew! MH SuperGateFinally, a gate that actually does what a gate was always supposed to do…Updated MH Dirty DelayGritty, Musical Feedback DelayUpdated MH CharacterA bucket full of old school goodness.....Updated MH HaloVerbCreate your perfect spaceUpdated MH Multiband DynamicsSometimes the best EQ is a compressorUpdated MH Multiband ExpanderExpand your horizonsUpdated MH TransientControlSophisticated Transient Modifier & WaveshaperUpdated MH Precision De-EsserA Surgical Strike On Stubborn SibilanceDifferences between v3 and v4MH Production Bundle v4 featuresNew Plug-ins included in the bundle:MH SuperGate - A new, flexible state-space based Signal Gate that finally actually does what a gate was always supposed to do.MH Sonic EQ - 6-band fully parametric Equalizer, where every band in the EQ supports 2nd to 8th order filters, using the low-noise 64-bit state-space EQ structure. This implementation is based on the original SonicEQ developed by Dr. Andy Moorer for the Sonic Solutions mastering DAW, and then ported and enhanced for the Mobile I/O DSP by Dr. B.J. Buchalter.New Functions for Pro Tools:Adds support for EQ and Dynamics graphs in Pro ToolsEnables EQ and Dynamics pages in Avid Control/EuCon when running in Pro ToolsUpdates to Character:Provides a new UI for MH CharacterProvides additional oversampling options for MH CharacterCommon changes for all plug-ins:Adds VST3 versions for all plugins on both macOS and WindowsVST3 Apple Silicon Native support for Steinberg products (Cubase, Nuendo, etc).VST3 Native Sidechain Support for our plugins that provide Sidechain input.Undo/RedoA/B snapshots and snapshot blendSoftware update trackingMore flexible resizabilityCommon controls in the header bar (Help, Resize, Pane Disclosure)All plugins support AU, AAX, VST2 and VST3 on macOS.All plugins support AAX, VST2, and VST3 on Windows.Improved Preset ManagementPlug-in Settings copy/paste between instancesPlug-in details pane (accessed by the MH Logo) that shows:About boxLinks to documentation, tech support and frequently asked questionsSoftware update information and release notesCurrent release notesPlug-in PreferencesSignificantly reduced size download for the installers on macOSAdds a user configurable themes for most pluginsAdds user selectable knob styles for many pluginsAdds user preference for band colorsAdds user preference UI colorsAdds user preference for showing/hiding knob ringsRefines layout and visuals of the UIs

Complete software package for composers, producers and studios (Download)One year access to Presonus software products including a permanent licence for Studio One ProfessionalStudio One Professional: easy to use DAW and Mastering-softwareNotion: Notation-software for the creation of sheet music, scores etc.Audio Batch Converter: a converter tool for audio filesEvery Presonus-Plugin such as Ampire, Channel Strip Collection, CTC-1 Pro Console Shaper, Fat Channel XT, Presence XT Editor and many othersMore than 100 Sound libraries, e.g. PreSonus Symphonic Orchestra, PreSonus Studio Grand, the complete Spark sample and loop collection, Tom Brechtlein Drums, Notion add-on instruments etc.Customisable PreSonus Sphere workspaces with up to 100 GB of cloud storage, online collaboration with other PreSonus Sphere users, live chats and much more.Share user presets, loops, tools and other contentConstantly growing range of exclusive tutorials, courses and instructional videosIncl. all updates during the membership periodSystem RequirementsFormat: E-MailLicense validity: 12 monthsCopy protection: Online activationSimultaneous activations: 5Windows: from 10 (64-Bit)Mac OS (64 Bit): from 10.13CPU min.: Intel Core i3 / AMD A10 / Apple M1/M2RAM min. (GB): 4min Space on HD (GB): 40 GBDisplay: 1366 x 768Additional System requirements: ASIO-comp. Audiointerface (Windows)

Ampire is PreSonus’ new State Space Modeled guitar amp/cab/stompbox simulator, included in Studio One Professional 4.6 and later. You get five new amplifier models, 16 cabinet emulations, and a pedalboard full of effects, and—in a first for PreSonus—we’ve made Ampire available for use in other DAWs in VST3, AAX, and AU formats! In short, Ampire has never sounded better, due in no small part to...

Responsive meters built to look how you want The already intuitive Insight UI has received a complete overhaul with version two. The plug-in is now fully resizable, as are all the individual meter modules within. With detailed, comprehensive data about your audio available at a glance, Insight 2 will help ensure that your final deliverables are as loud and clear as your profession demands. Relay Relay is a utility that communicates with compatible iZotope plug-ins across your session to accomplish a variety of useful tasks. Place Relay on your track and get access to precision channel-strip functions such as high pass filtering, phase and mono controls, pan and width sliders, and delay time. Customizable UI With a wealth of options for personalizing your metering experience, Insight lets you visualize your audio in a way that's perfect for your project or session. Intelligibility Meter Using Relay, Insight 2 takes information from your dialogue track and recommends dialogue level and placement when compared to the rest of your mix.

SSD5 makes editing your kits a breeze.  Select individual drums, customize the mics and routing, choose your MIDI maps, customize your velocity and dynamic curves for each drums, and build your custom tone exactly as you want it. SSD5’s mixer allows you to get the perfect mix of your drums, with easy access to ambient room mics and close mics.It allows you to easily route your drums discretely to your DAW so you can use your favorite plugins to get the ultimate drum tone. We also added a new master volume control to the entire plugin.Customize your MIDI Map with SSD5’s completely reworked MIDI MAP converter. Everything in a kit preset is easily mappable and re-mappable plus you can quickly load mapping presets. Features:All New User Interface Built from the Ground UpNew Master Volume Engine ControlNew SSD5 Physically Modeled Drum Playback AlgorithmDeluxe 2 Drum Library Adds 50 New Instruments77 Snares, 84 Kicks, 58 Toms11 Hi-Hats, 14 Crashes, 6 Rides, 4 Splashes, 3 Chinas9 Percussion Instruments (1 Clap, 1 Tambourine, 1 Cowbell)4 Sound Effect InstrumentsAnalog Processed and Unprocessed SamplesFamous “Artist Modeled” KitsDrumkit or Pad Cells View Allows Up To 32 Drum InstrumentsCompletely Reworked Routing/Mapping SystemmacOS Support in AAX/VST/AU FormatsWindows Support in AAX/VST FormatsWhat's included:84 Kicks77 Snares58 Toms11 Hi-Hats6 Rides14 Crashes4 Splashes3 Chinas9 Percussion (1 Clap, 1 Tambourine, 1 Cowbell)4 SFX 

Sneak peek: VocalSynth 2We’ve made improvements across the board in VocalSynth 2. We’ve added a new module, new and improved effects, deeper control and customization for every module, inter-plugin communication capabilities that work with Ozone 8 and Neutron 2, enhanced stereo processing functionality, and optimizations in sound quality and performance.Here’s a sneak peek at a few of the key features coming in the second version.BiovoxA new module that models the physics and sounds of the human vocal tract. We used scientific modeling of a human vocal tract to develop this brand new module so you can adjust human vocal characteristics like nasality, vowel shapes, and formants for a smooth, textural vocal treatment. Biovox is great for adding character, breathiness, and shape for a little secret something you can’t get anywhere else.A stompbox playgroundThe effects section of VocalSynth 1 was a fan favorite. In version 2, we’ve added a much-requested feature: the ability to drag and drop to reorder modules. We’ve also revamped Shred for a better experience and added two brand new effects: Chorus and Ring Mod: a ring modulator that doubles as a unique tremolo-like effect.Overall sonic improvementsVocalSynth 1 marked a milestone in vocal production processing: the ability to blend and shape multiple iconic vocal effects in parallel and create something entirely new. Over time, we heard from some users that they wanted deeper control of each module. For version 2, we’ve focused on improving sound quality and adding deeper control across the plug-in. With the addition of Advanced controls in all modules, including access to Vocoder band controls, per module Oscillator presets, and per module panning and filters, you’ll have a new depth of control for a better sound, faster than ever.Inter-plugin communicationFor existing Music Production Suite, O8N2, Ozone 8, or Neutron 2 customers, we’ve added the ability to see VocalSynth 2 in Neutron 2’s Masking Meter and Visual Mixer as well as in Tonal Balance Control. Get a comprehensive view of your production with all inter-plugin communication enabled across these connected iZotope products. Upgrade from iZotope VocalSynth to VocalSynth 2Five vocal effects: Biovox, Vocoder, Polyvox, Compuvox and TalkboxAdditional effects section with: Chorus, Ring Mod, Distortion, Filter, Speaker Simulations, Shredder and DelayIntegrated real-time pitch correctionAuto mode, MIDI mode, and Side Chain mode allow flexible plug-in managementInter-plugin communication with Neutron 2 Visual Mixer, Masking Meter, and Tonal Balance Control​​

Sneak peek: VocalSynth 2We’ve made improvements across the board in VocalSynth 2. We’ve added a new module, new and improved effects, deeper control and customization for every module, inter-plugin communication capabilities that work with Ozone 8 and Neutron 2, enhanced stereo processing functionality, and optimizations in sound quality and performance.Here’s a sneak peek at a few of the key features coming in the second version.BiovoxA new module that models the physics and sounds of the human vocal tract. We used scientific modeling of a human vocal tract to develop this brand new module so you can adjust human vocal characteristics like nasality, vowel shapes, and formants for a smooth, textural vocal treatment. Biovox is great for adding character, breathiness, and shape for a little secret something you can’t get anywhere else.A stompbox playgroundThe effects section of VocalSynth 1 was a fan favorite. In version 2, we’ve added a much-requested feature: the ability to drag and drop to reorder modules. We’ve also revamped Shred for a better experience and added two brand new effects: Chorus and Ring Mod: a ring modulator that doubles as a unique tremolo-like effect.Overall sonic improvementsVocalSynth 1 marked a milestone in vocal production processing: the ability to blend and shape multiple iconic vocal effects in parallel and create something entirely new. Over time, we heard from some users that they wanted deeper control of each module. For version 2, we’ve focused on improving sound quality and adding deeper control across the plug-in. With the addition of Advanced controls in all modules, including access to Vocoder band controls, per module Oscillator presets, and per module panning and filters, you’ll have a new depth of control for a better sound, faster than ever.Inter-plugin communicationFor existing Music Production Suite, O8N2, Ozone 8, or Neutron 2 customers, we’ve added the ability to see VocalSynth 2 in Neutron 2’s Masking Meter and Visual Mixer as well as in Tonal Balance Control. Get a comprehensive view of your production with all inter-plugin communication enabled across these connected iZotope products. Supplements iZotope Music Production Suite with VocalSynth 2Five vocal effects: Biovox, Vocoder, Polyvox, Compuvox and TalkboxAdditional effects section with Chorus, Ring Mod, Distortion, Filter, Speaker Simulations, Shredder and DelayIntegrated real-time pitch correctionAuto mode, MIDI mode, and Side Chain mode allow flexible plug-in managementInter-plugin communication with Neutron 2 Visual Mixer, Masking Meter, and Tonal Balance Control​

Sneak peek: VocalSynth 2We’ve made improvements across the board in VocalSynth 2. We’ve added a new module, new and improved effects, deeper control and customization for every module, inter-plugin communication capabilities that work with Ozone 8 and Neutron 2, enhanced stereo processing functionality, and optimizations in sound quality and performance.Here’s a sneak peek at a few of the key features coming in the second version.BiovoxA new module that models the physics and sounds of the human vocal tract. We used scientific modeling of a human vocal tract to develop this brand new module so you can adjust human vocal characteristics like nasality, vowel shapes, and formants for a smooth, textural vocal treatment. Biovox is great for adding character, breathiness, and shape for a little secret something you can’t get anywhere else.A stompbox playgroundThe effects section of VocalSynth 1 was a fan favorite. In version 2, we’ve added a much-requested feature: the ability to drag and drop to reorder modules. We’ve also revamped Shred for a better experience and added two brand new effects: Chorus and Ring Mod: a ring modulator that doubles as a unique tremolo-like effect.Overall sonic improvementsVocalSynth 1 marked a milestone in vocal production processing: the ability to blend and shape multiple iconic vocal effects in parallel and create something entirely new. Over time, we heard from some users that they wanted deeper control of each module. For version 2, we’ve focused on improving sound quality and adding deeper control across the plug-in. With the addition of Advanced controls in all modules, including access to Vocoder band controls, per module Oscillator presets, and per module panning and filters, you’ll have a new depth of control for a better sound, faster than ever.Inter-plugin communicationFor existing Music Production Suite, O8N2, Ozone 8, or Neutron 2 customers, we’ve added the ability to see VocalSynth 2 in Neutron 2’s Masking Meter and Visual Mixer as well as in Tonal Balance Control. Get a comprehensive view of your production with all inter-plugin communication enabled across these connected iZotope products. Educational VersionFive vocal effects: Biovox, Vocoder, Polyvox, Compuvox and TalkboxAdditional effects section with: Chorus, Ring Mod, Distortion, Filter, Speaker Simulations, Shredder and DelayIntegrated real-time pitch correctionAuto mode, MIDI mode, and Side Chain mode allow flexible plug-in managementInter-plugin communication with Neutron 2 Visual Mixer, Masking Meter, and Tonal Balance Control​

Slate Digital Steven Slate Drums EX with 25 of the world's best sounding drumkits at your disposal. From punchy tight rock kits, to fat and sizzly vintage kits, and just about everything in between, Steven Slate Drums 4.0 EX takes some of the most essential kits straight from the Platinum collection, and offers them to you at an extremely low price.Specifications:25 Drum kits from different music genresComplete "Ready to Mix" classic kits and "Old Zep" kitNew Soultone cymbalsA dance kitSupported formats: VST 2 / AU / AAXnative / RTASSystem requirements: From Win7 (32/64-Bit), from Mac OSX 10.6, 2.2 GHz Dual Core CPU, 4 GB RAM, DVD drive, Internet connection

David Bendeth is a multi-platinum producer, engineer and mixer who has worked with top acts such as Paramore, Breaking Benjamin, and Underoath. The albums he makes are known for their explosive rock sound, but it is his drum sounds specifically that have had the audio community in a stir ever since the opening snare fill in Paramore’s ‘Misery Business’.Now with 5 ready-to-go preset kits for both TRIGGER and SSD4, you can get the classic Bendeth drum sound on your own tracks. David even mixed his own classic samples (that have been used on all his records) into the top velocities of the live sampled drums, so with David Bendeth Drums you’ll have another amazing addition to your SSD and TRIGGER drum locker.Specifications:5 Percussion kitsSpecially pre-mixed sounds by David BendethClassical samples in two different dynamics3 Snares2 Kicks4 Toms2 Crash Cymbals1 Ride1 China and 1 Hihat

In the Spring of 2012, Chris Lord-Alge revisited his recording engineer roots and recorded multiple world class drumkits at OCEAN studios in Burbank. He then mixed all the drums in his classic style in his LA mixroom using the same processing chains that you’ve heard on all of his records. He even printed a sample layer of his famous SONY reverb unit on the kicks and snares.The result is some of the fattest, punchiest, most mix ready virtual drums in the industry! And now you can use these classic Chris Lord-Alge drums in Steven Slate Drums 4 Virtual Drum instrument and Steven Slate TRIGGER Drum Replacer/Enhancer.Specifications:Penetrating and fat-sounding drumsRecorded and mixed by Chris Lord Alge12 Snares11 Kicks5 Toms1 Hihat4 Crash cymbals1 ride 

In the Spring of 2014, Blackbird Founder John McBride recorded the Blackbird Drums Expansion with drummer Chris Tyrell of Lady Antebellum for the STEVEN SLATE DRUMS 4 Virtual Instrument and TRIGGER drum replacer plugin. Utilizing three of Blackbird’s classic rooms including the chambers of rooms A and D, tons of vintage mics and gear, classic drum kits from an era spanning fifty years, and of course, John’s amazing engineering talent, Blackbird Drums is one of the most amazing drum libraries you’ll ever experience.Specifications:Excellent sounding drum libraryRecorded by John McBride and drummer Chris Tyrell at the legendary Blackbird StudiosSounds from vintage to modern6 New kick drum samples10 New snare samples7 New Tom Sets​

Terry Date is the producer, recording engineer, and mixer behind bands like The Deftones, Pantera, Staind, Incubus, SoundGarden, and many more. His drum sounds were a major influence on Steven Slate and many of Slate’s own samples were modeled from tones on Terry’s records. Now, Steven brings you sounds from the man himself. Terry Date Drums for SSD4 and TRIGGER brings you 10 drumkits recorded in Hensen Studio B that are some of the most mix-ready kits for rock and hard rock that you’ll ever hear!Specifications:10 hard, punchy drum kits recorded and mixed by Terry DateRecorded in the famous Henson B studioSounds from Rock to MetalIncluding the famous Deftones "White Pony" Snare 

In the Spring of 2012, Chris Lord-Alge revisited his recording engineer roots and recorded multiple world class drumkits at OCEAN studios in Burbank. He then mixed all the drums in his classic style in his LA mixroom using the same processing chains that you’ve heard on all of his records. He even printed a sample layer of his famous SONY reverb unit on the kicks and snares.The result is some of the fattest, punchiest, most mix ready virtual drums in the industry! And now you can use these classic Chris Lord-Alge drums in Steven Slate Drums 4 Virtual Drum instrument and Steven Slate TRIGGER Drum Replacer/Enhancer.Specifications:Penetrating and fat-sounding drumsRecorded and mixed by Chris Lord Alge12 Snares11 Kicks5 Toms1 Hihat4 Crash cymbals1 ride 

The Slate Digital VIRTUAL PREAMP COLLECTION brings the authentic tone of two of the audio industry’s most classic microphone preamplifiers to your DAW. Each preamp uses state-of-the-art analog modeling technology to recreate every aspect of the preamp circuit, from mild coloration to full-on saturation and distortion. The VPC was originally designed to be used on tracks recorded with the Virtual Microphone System’s VMS-ONE Ultra Linear Microphone Preamp, but it can be used after any clean sounding preamp to add extra vibe. VPC can also add real analog preamp tone to any track or mix, and even create rich-sounding distortion effects when pushed hard.The FG-73 preamp module is modeled after one of the most famous discrete solid state preamps in the industry, made in Britain and used on countless recordings. It has a bold, present and warm sound that works great on any audio source – even full mixes.The FG-76 preamp module is modeled after a vintage German tube preamp that has been used on many classic recordings. It has a thick and colorful tone that can make tracks and mixes sound more ‘alive’. The bottom-end saturates in a very unique and musical way, making it a great module for bass guitar and kick drum tracks.Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin FormatsIntel Mac 32bit: VST2, VST3, AU, AAXIntel Mac 64bit: VST2, VST3, AU, AAXWindows 32bit: VST2, VST3, AAXWindows 64bit: VST2, VST3, AAX 

There is a reason why many top hits continue to be mixed on analog consoles – much like tape machines, the top large-format analog consoles have a sound and a vibe that has been impossible to achieve in the world of computer recording… until now. The Virtual Console Collection allows your DAW to take on the personality of a real analog mixing desk, improving the imaging and depth and making instruments sit better in the frequency spectrum. Mixing becomes easier and more musical, and you can even push the DAW faders up to find each mixer’s “sweet spot”.The behavior of an analog console is immensely complex, because the individual channels contribute different things sonically than the summing busses do, and the number of individual channels in use matters to the overall sound of the desk. To accurately emulate all of this complexity, the Virtual Console Collection consists of two separate plugins – the Virtual Channel and Virtual Mixbuss – both of which allow the user to choose from one of six analog console emulations. Virtual Channel is applied on individual mixing channels in your DAW, and Virtual Mixbuss is intended to be placed on the first insert of the master fader.VCC contains emulations of six classic inline recording consoles, including the most sought-after models from Britain and the US. These emulations are sonically indistinguishable from the original desks they model, so your mixes will come together quicker, feel more even and exciting, and require less work than ever beforTo make VCC easier to use, up to eight separate control groups can be created in your mixing session, allowing you to manipulate multiple channels from any module assigned to the same group. It’s a snap to audition different console emulations across multiple tracks in order to select the right one for your mix, as well as bypassing all group members to A/B as well.Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST2, VST3, AU, AAXIntel Mac 64bit: VST2, VST3, AU, AAXWindows 32bit: VST2, VST3, AAXWindows 64bit: VST2, VST3, AAX 

Three plug-in collections in one bundle, perfect for adding analog mojo to your sound at every stage of your mix. You get the VTM Virtual Tape Machines for the sound of real analog tape machines. The VCC Virtual Console Collection 2.0 improves the sound of real analog summing with six vintage console emulations. And the VBC Virtual Buss Compressors will be your new go-to solution for controlling dynamics while maintaining sonic impact. Anyone at Sweetwater will tell you that the Slate Digital VCC/VTM/VBC Bundle is the value for any DAW-based studio.Specifications:Platform: Mac, PCUpgrade/Full: FullDownload/Boxed: DownloadBit Depth: 32-bit, 64-bitiLok Required: iLok 2Format: VST, AU, AAXHardware Requirements - Mac: Dual Core Intel Processor or higher, 8GB RAM recommendedHardware Requirements - PC: Dual Core Intel/AMD Processor or higher, 8GB RAM recommendedOS Requirements - Mac: OS X 10.7 or laterOS Requirements - PC: Windows 7 or later

The delay is one of the most fundamental effects used in audio production, as it can add depth, space, excitement, and vibe to your mixes. Over the past fifty years there have been many different kinds of delays, from oil cans and tape machines to digital units, and each one has its own unique character and sound. So when it came time to create a delay plugin, we knew which delay unit we needed to model: ALL OF THEM!Repeater features 23 authentic emulations of classic delay machines ranging from classic oil cans and tape machines to vintage digital designs – it’s packed with sounds and new features that will add depth to your mixes, and it comes with a user interface that’s immediately easy to understand and tweak.Repeater’s 23 delay models offer you a versatile delay palette, as well as some amazing special effects like authentic pitch, telephone, and vintage tape tones. Whether you want a bold echo, a subtle wide space or a classic tape slapback, Repeater has you covered.  You’ll be able to find the right delay for the right situation, every time.Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST, AU, AAXIntel Mac 64bit: VST, AU, AAXWindows 32bit: VST, AAXWindows 64bit: VST, AAX 

Reverb is perhaps the most fundamental effect in audio production. Over the past several decades several classic digital reverb units have become staples for professional mixing engineers, and VerbSuite Classics brings you ALL OF THEM.VerbSuite Classics is a partnership with LiquidSonics, and uses proprietary FUSION IR processing to capture the evolving and modulating characteristics of the modeled hardware reverb tone. In blind comparisons, users could not differentiate between the real hardware reverb patch and the VerbSuite capture.FG-QRSWhen we asked several top pros which reverb they insisted we include in VerbSuite Classics, this German-made unit from the early eighties made every list! It’s incredibly transparent for a digital verb, and is known for having minimal digital artifacts. We love it on vocals but it’s great on so many other sources as well.FG-2000This extremely rare Japanese-made reverb has been the favorite drum verb for many top pros. They have had mechanical issues and are very hard to find, so we were lucky to capture a unit in perfect condition. Not only amazing on drums, but fantastic on guitars, piano, and vocals!FG-16XThis is a model of the famous microprocessor-controlled digital reverb from the early 80’s. It has a smooth and lush tone that is incredible on all types of source material, and one of its most famous uses is the drum sound on “In The Air Tonight” by Phil Collins.FG-6000This is a model of a modern Danish digital reverb powerhouse! This reverb has several programs that are incredibly realistic, smooth, and deep. Amazing for small and large spaces alike, you’ll find an enormous amount of use for this incredible reverb!FG-BM7The BM7 reverb model is a free expansion for VerbSuite Classics. It’s available directly from LiquidSonics using public-domain Bricasti M7 Fusion-IRs, which capture what many say is the best-sounding digital reverb in the history of audio production. Unlike several static impulse response packs taken from this famous unit, the VerbSuite Classics Fusion-IR expansion pack recreates the true tone and character of the unit’s modulation.Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST, AU, AAXIntel Mac 64bit: VST, AU, AAXWindows 32bit: VST, AAXWindows 64bit: VST, AAX 

The FG-Stress is a digital replication of one of the industry’s most highly coveted analog compressors, the Empirical Labs Distressor. Every aspect of the Distressor has been modeled, which is no simple task due to the Distressor’s unique topology where every ratio is essentially a different compressor! Like the hardware in which it models, the FG-Stress can mimic the tone of some of the industry’s most famous compressors like punchy VCAs, fat tube compressors, and even vintage opto units. Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST2, VST3, AU, AAXIntel Mac 64bit: VST2, VST3, AU, AAXWindows 32bit: VST2, VST3, AAXWindows 64bit: VST2, VST3, AAX 

The Slate Digital VIRTUAL TUBE COLLECTION is a set of three plugins for Virtual Mix Rack that recreate the sound of classic vintage tube circuits. Each module can act as a preamp, a saturator, and even a virtual tube summing console. Using VTC, you can add color, warmth, depth, and vibe to your mixes and masters. VMS users can also use VTC preamps with the microphone models for rich and vibey tone on their tracks.LondonLondon is inspired by some vintage tube circuits originating from Europe. The sound is big, warm and bold in the lows and low mids, and slightly smooth in the top end. The transient response has a slight thickness to it without being overly aggressive. London sounds amazing for fattening up tracks in preamp mode, or thickening things up with it’s preamp saturation, and can add fat analog body in Console mode on the whole mix.New YorkNew York is inspired by some vintage tube circuits with a hint of inspiration from some New York solid state discrete circuits to give it some tightness and impact. New York is aggressive in the mids, and tighter in the lows due its unique dynamic harmonic saturation. It can add incredible focus and punch to tracks in preamp mode, especially in boost mode. It’s also an all around winner for many genres in console mode when used on the master fader. You really dial in the saturation with New York and then find the perfect blend with the mix knob.HollywoodHollywood is perhaps the most colorful of the three modules, and it’s got some beautiful air, depth, excitement, and some really big bottom! Use it on boost mode and make your tracks come alive. It’s fantastic when paired with some of the vintage VMS mics to add some extra top end flavor and warm lows. In console mode, it can simply transform a lifeless mix into something larger than life. Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST2, VST3, AU, AAXIntel Mac 64bit: VST2, VST3, AU, AAXWindows 32bit: VST2, VST3, AAXWindows 64bit: VST2, VST3, AAX 

FG-Bomber is a unique analog-modeled Dynamic Impact Enhancer, and it can give your tracks and mixes more impact, authority, and excitement. It has the ability to make the elements of your mix ‘extrude’ from the speakers, adding a front-to-back depth that always translates, even to small speaker systems.Powerful Dynamics ProcessingUnder the hood, the Bomber uses one of our most complex fully analog-modeled circuit paths yet, consisting of special harmonic generators, compressors, saturators, filters and more. It’s an invaluable tool for managing dynamic material, and we often hear from customers that the Bomber can literally replace entire signal processing chains all by itself.DriveDrive controls the amount of signal sent to the effect processors. The most impact is felt when Drive is adjusted so that the VU needle peaks at the little bomb icon, while more depth and sustain can be had by pushing it further.IntensityIntensity blends the effected signal with the dry signal. Small amounts of Intensity can create subtle impact, space, and depth, while large amounts can produce extremely punchy and fat-sounding results.ToneTone selects one of the three preset effect styles: Present, Fat, or Tight. Try each to see which one fits your current need the best.  

A perfect recreation and a custom mod of the most  highly sought after Rev A Blue FET Compressor. The FG-116 Blue series authentically recreates the tone of two vintage “rev A” FET limiting amplifiers, and then offers two uniquely modernized versions of the classic FET circuit. With vintage and modern tones and clever features like hi pass detection and a parallel mix knob, the Blue series can be used all across your mixes.The FG-116 Blue Compressors take the guesswork and setup out of parallel compression techniques by offering a Mix control. By dialing in heavy amounts of compression but dialing the mix back to 25%, you can enhance the punch of your drum tracks without making them feel overly compressed. The Hi Pass filter allows the compressor to ignore low frequencies, retaining low frequency impact while still controlling the dynamics. Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST2, VST3, AU, AAXIntel Mac 64bit: VST2, VST3, AU, AAXWindows 32bit: VST2, VST3, AAXWindows 64bit: VST2, VST3, AAX 

The Custom EQ is like an EQ All-Star team. During development we studied over a dozen classic analog equalizers to identify the best attributes of each one, and then took all of those attributes and put them into a single equalizer plugin. As a result, every band of the Custom EQ was inspired by a different original device, and has its own unique boost and attenuation design. Each band even has its own analog-modeled output section, with rich musical harmonics to give it a lively analog vibe. Even though it’s a hybrid design by nature, the Custom Series EQ is one of the most natural-sounding equalizers you’ll hear.EQ’s Greatest  HitsUnlike the individual EQ’s that inspired it, the Custom Series EQ doesn’t have to conform to the limitations of analog circuit design. Each band was inspired by the sound and design of a different classic analog equalizer, and unlike the real devices, each band has its own circuit topology and behaves differently when boosting or cutting. The result is an equalizer that can do amazing things – it can add air to dull tracks by adding 10db of 15K without getting strident (like some passive tube EQs), bring down brittle harshness in a vocal by cutting 2K without losing clarity (like some high-end parametrics), and add low-end girth by adding 100 Hz without getting tubby.Add Clarety & FatnessThe Custom Series Lift processor is a boost-only parallel filter based upon passive designs, and it can add real life and girth to your tracks. High Lift allows the top end to be opened up in a natural way, adding air and space to the resulting sound. The Present and Silky buttons tune the shape of the high frequencies to be more or less forward without ever getting harsh or strident.Low Lift injects natural bass energy, and it’s magic on anemic bass guitars and kick drums. The Big and Punchy buttons shape the transient and low frequency information in two distinct ways, so experiment to see which works best on the track at hand. Specifications:Minimum System Requirements:Quad Core i5 Processor4GB of RAMMac OS X 10.7 or LaterWindows 7 & AboveiLok 2 or 3 RequiredSupported Plugin Formats:Intel Mac 32bit: VST2, VST3, AU, AAXIntel Mac 64bit: VST2, VST3, AU, AAXWindows 32bit: VST2, VST3, AAXWindows 64bit: VST2, VST3, AAX 

Make beats you've never heard before. Built on a futuristic MicroEdit Engine, BreakTweaker turns everything you know about rhythm on its head. Designed by BT and developed by iZotope, BreakTweaker is not just a drum machine: it's a drum sculpting and beat sequencing environment that blurs the line between rhythm and melody. Give your beats an ever-evolving depth that gets better the longer they play.Use rhythmic slicing to drive everything from pitched melodic lines to sweeping rhythmic overtures. Top it all off with the best drum sample library in existence, curated by BT, iZotope, and top producers today. Explore a new era of rhythmic possibilities with this forward-thinking and forward-sounding instrument.With their creative forces combined, BT and iZotope bring you an instrument that will change the concept of rhythm, beat and drum programming as you know it. A prodigious producer, technologist, and GRAMMY®-nominated composer, BT is renowned for inventing the "stutter edit" as a musical technique, as found in Stutter Edit, the first product release from BT and iZotope.BT and iZotope are now back again with BreakTweaker, featuring BT's patented micro edit technology based on pioneering rhythmic sound design research. Fascinated by the brain's cognitive limits, BT has always been intrigued by the way we perceive rhythm, particularly the threshold point of where our ears perceive rhythm as pitch. The idea of exploring and exploiting this threshold inspired BreakTweaker, a tool where BT could finally realize rhythmic possibilities that he had once imagined but had never before been able to hearFeatures:Manipulate audio at a molecular level: Reinvent any beat by controlling pitch, rhythm, and texture at the finest resolution on the market.Free yourself from traditional drum grids: Create complex polyrhythmic beats with unique isorhythm and playback speed settings.Experiment with stunning content: Explore presets, drum samples, and wavetables designed by today's top musicians and DJs, including BT.Craft the perfect drum sound: Blend drum samples with robust synthesis features to generate compelling hybrid sounds.Take control of your beats: Easily trigger and sequence complex patterns and samples using any MIDI controller.Specifications:Supported operating systems: Windows: XP (32-bit Service Pack 3), 7, 8, 10, Mac: OS X 10.6.8–10.13Plug-in formats: AAX (Pro Tools 11-12), RTAS (Pro Tools 7.4-10), VST and VST 3, Audio UnitPlug-in host compatibility: BreakTweaker works as a virtual instrument in popular hosts like Pro Tools, Cubase, Nuendo, SONAR, ACID, Ableton Live 

Create and discover musical sounds that have never been heard before. An inspiring sample-based synthesizer, Iris 2 is immediately playable—combining the power of a sampler, the flexibility of a modular synth, and the fun of spectral filtering.Get started fast by selecting from hundreds of expertly crafted Bass, Keys, Leads, Pads, and Rhythmic patches. Then customize or build your own patches with an 11 GB factory library of intriguing audio samples, a modern modulation system, classic filters, evocative effects, and more. Explore a new world of musical possibilities with Iris 2.Features:Explore a world of sound: Load one of hundreds of fresh and inspiring patches, and easily experiment with the most relevant parameters via Macro controls.Build your own synth: Invent sounds that are completely your own by layering up to four different samples from a built-in collection of analog oscillator waveforms, an 11 GB sample library, or your own personal audio files.Design your own filters: Get the best-sounding and most unique filters by drawing, selecting, and isolating sonic components from each sample layer using iZotope's award-winning spectral filtering technology.Shape your own sound: Develop expressive, dynamic, and evolving musical sounds with the powerful and flexible new modulation system. Access every control from one window, or reveal only what you need with a dynamic new user interface.Specifications:Iris 2 runs as a plug-in or as a standalone application.Operating system requirements: Windows: 7, 8, 10, Mac: OS X 10.7–10.13 (Intel only), Plug-in formats: 32/64 bit Audio Units, VST, VST3, AAX, and RTASPlug-in host compatibility: Ableton Live 8 and 9, Logic Pro X, Pro Tools, Cubase, Nuendo, FL Studio, Bitwig .

Get the power of Neutron at an unbelievable price!  With industry-first features like Track Assistant and EQ Learn, Neutron Elements can help you quickly reach an optimal starting point, identify mix issues, and fully wield creative control over all your mix decisions.Features:Improved Track Assistant, another industry first, Neutron’s updated Track Assistant lets you create a custom starting point based on your audioImproved Neutrino Mode, different instrument tracks — like vocals, dialogue, guitar, bass, piano, and drums.—EQ, with EQ Learn, the workhorse EQ features clean yet subtly warm processing and a pristine analog-style signal pathCompressor, a parallel processing powerhouse, the Compressor offers the ultimate sonic versatility.The multiband Transient Shaper offers clarity, perceptual loudness.The exciter allows you to easily add punch, warmth, brightness, and presence to yourtrack without muddying up the sound. Pick from one of over 200 professionally designed presets. Specifications:Supported operating systems: Mac: OS X 10.8.5 (Mountain Lion) - macOS 10.13 (Sierra), Windows: Windows 7 - 10Supported plug-in hosts: Pro Tools 10-12, Logic Pro X, Ableton Live 9, Cubase 9, FL Studio 12, REAPER 5, Reason 9.5, Bitwig Studio 2, Studio One 3, Nuendo 8, Sonar, Digital PerformerSupported plug-in formats: AAX (64-bit Real-time), AAX-AS (64-bit AudioSuite), RTAS (32-bit Real-time),   DPM (32-bit AudioSuite), VST 2, VST 3, AudioUnit 

Plug ins collection in PRO TOOLS enviroment, with FOCUSRITE algorithm (ISA 110 & ISA 130). Includes plug ins: ISA 110 Equalizer, ISA 130 Multichannel Surround Compressor, ISA 130 Expander, ISA 130 Gate, ISA 130 De-esser.

Phoenix II is an update of Crane Song's suite of TDM plug-ins designed to emulate the unique properties of a magnetic tape machine. Phoenix II runs both NATIVE and DSP on Avid's PT 10 AAX format. Phoenix II uses 32 bit floating point math and has a lower noise floor than the original release.Designer Dave Hill has crafted this software with the same attention to detail he used to create the electronics for ATR Service's much heralded "Aria" discrete tape recorders.  His intimate knowledge of analog electronics, as well as decades of experience as a recording engineer has spawned a very useful, musical suite of plug-ins.  The Phoenix II process not only incorporates the nonlinear saturation characteristics created by magnetic tape itself, but also includes the interrelation of an analog tape recorder's record/reproduce electronics and equalization curves.  Phoenix II is a ground-up application derived from HEDD technology, and specifically engineered and optimized for Avid's PT 10 architecture.Phoenix II has five different tape-analog characteristics, The type is selected with a switch for easy comparison between the types, and the brightness is also selected with a switch.  Gold is the position where the color is approximately flat in frequency response, with Sapphire being a brighter, and Opal being a warmer tonality.  A level control determines the amount of the Phoenix II process integrated into the audio signal, and an input trim determines "how hard you hit the tape." Because the DSP process is level dependent, the input level trim control has been improved and an output trim control has been added.   The input trim can also be used to prevent clipping in the rare cases where clipping may be a problem and bringing up the level of a track for an increased amount of color.  This can be useful on material that is hitting close to or at digital zero and on material that has a low recorded level. When the input trim and output trim controls are at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input. 

PHOENIX is a TDM plug-in suite for Pro Tools HD that is designed to put analog color into the digital domain by increasing apparent loudness without increasing gain (e.g., by modeling analog tape compression). The result is that added realism that is missing in many modeled synths, EQs and digital samplers. The five different "flavors" of PHOENIX can result in a much more musical and satisfying sound.Each one of the five different TDM plug-ins emulate different tape characteristics. Each one also incorporates a color change button allowing three choices to modify the process per plug-in. The Gold button is the position where the color is approximately flat in frequency response, with Sapphire being a bit brighter and Opal having a warmer tonality. A level control determines the amount of the PHOENIX process integrated into the audio signal, and an input trim determines "how hard you hit the tape." Because the DSP process is level dependent, reducing the input level will also cause a change in sound.The input trim can also be used to prevent clipping in the rare cases where clipping may be a problem. This can be useful on material that is hitting close to or at digital zero. When the input trim is at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input.The PHOENIX suite contains five separate plug-ins:Luminescent is the most neutral sounding process of the five.Iridescent has a similar magnetic character, but with a fatter bottom and midrange. This plug-in is the most similar to the tape knob on HEDD-192.Radiant is characterized by a more aggressive compression curveDark Essence is even more aggressive. (The effect is a color with a wider frequency range--when used on a vocal Dark Essence can reduce sibilance problems by increasing the apparent loudness of the rest of thesignal.)Luster starts more gently than the other four processes, but becomes as aggressive as Dark Essence when the process is at full scale.

Peacock can be used on a stereo bus to create the classic vinyl sound.  On individual tracks it is also very useful in creating large fat sounds, smoothing of the harmonic content and making a nice smooth vintage sound on vocals and other instruments.There are three main controls; Harmonic, Dynamic and Color.  The Harmonic and Dynamic controls interact and control the level of the harmonic distortion.  The Color switch changes the character / interaction of the controls and sets the maximum amount of midrange / LF color and the HF compression characteristic.  The Dynamic control is the tricky one, what is does is time modulate the distortion components which are very frequency dependent due to the RIAA curve.  There are two main components that cause time modulation in a vinyl record.  The first is due to the cutter and the playback stylus not having the same shape, this is called tracing distortion the other is tracking distortion due to the playback systems miss-alignment and the inability to perfectly follow the grove in the record. The Dither control adds noise that is the spectrum of record noise.  It modulates some of the internal functions an adds dither to the audio path at a level for 16 bit ditheringColor = Gold is an extremely close match to the test material which is a record and the original wave file.  It has been optimized at 96K but will work fine at other sample rates. The Silver setting is lighter setting and coloring increases in the order of the settings; Silver, Gold, Rich, Fat, Deep.   Silver is also the brightest setting.  The amount of time modulation with the Dynamic control is level dependent and has a maximum range.  It is more of a matter of finding the control position that is optimum.   Pushing it to higher levels creates ugly sounds.  The code prevents this. 

Digital recording is now the standard for professional music production. But many engineers and musicians long for the days of analog recording, and for good reason. Analog Tape Machines have a SOUND. Big, fat, warm, deep, rich, and exciting are just some of the terms used to describe what recording onto a piece of magnetic tape sounds like. Most of all, tape is more musical.To capture the sound of tape is to capture a living, breathing sound that dynamically reacts to the music going on to it. Slate Digital Chief Technology Officer Fabrice Gabriel utilized his electrical engineering degree as a foundation for his comprehensive study of the physical processes that occur when recording to analog tape through a tape machine. What began with science led to Fabrice’s discovery of the seemingly magical properties of tape and inspired him to create his most advanced, dynamic algorithms yet. Two industry-standard machines were precisely modeled. What followed was a year of critical listening and algorithm tweaking, with some help from the expert ears of Slate Digital CEO, Steven Slate.The result is the Virtual Tape Machines plugin. With models of both a 2 inch 16 track from NRG Recording, and a ½ inch 2 track machine from Howie Weinberg Mastering, the VTM will give your mixes an absolutely authentic analog vibe that will take your mixes to the next level. With added dimension, fatness, depth, and warmth, you’ll wonder how you ever mixed without it.Specifications:Mac Minimum RequirementsDual Core Intel Processor, At Least 4 GB of RAMMac OS X 10.6 or laterAU, RTAS, VSTPC Minimum RequirementsDual Core Intel or AMD Processor, At Least 4 GB RAMWindows 7 (32/64 Bit)RTAS, VST

SLATE DIGITAL's TRIGGER 2.0 is the next generation drum replacement VST/RTAS/AU/AAX plugin. TRIGGER has a phase accurate multi layered triggering engine. This means that in one instance of the plugin, you can seamlessly trigger 8 stereo samples simultaneously such as a close mic sample, stereo overhead sample, and a stereo room mic samples. Or, mix many direct mic samples to develop your own custom unique sounds. This multi channel triggering functionality allows the user to recreate the sound of natural drums with real multitracked samples. Each sample layer has parameters for customization such as velocity and dynamic control, attack, sustain, release and independent levels. Other features include 2 detection modes, MIDI in/out, automation of detecting parameters, up to 127 different articulations per instrument, up to 127 velocity layers per instrument and up to 127 alternation hits per velocity layer, and a unique "Leakage Suppression" function. Trigger Platinum also contains a transient triggered gate that is the ultimate tool for cleaning up drum tracks with excess leakage.When using TRIGGER, you will hear tight, phase accurate drum triggering without unwanted mistriggers, flamming, or phasing. Kick samples line up tight with the original kick drums, snare drum transients align perfectly, and tom fills come out exactly like the original tracks. Trigger has the unique functionality to be set in a way that in can automatically be instructed to NOT trigger certain leakages on a drum track using its Leakage Suppression mode. Using the Leakage Suppression technology you can trigger a drum track with 100% accuracy even if this drum track has many loud bleeds from other drums.Trigger comes with three latency modes, and can work with live triggering using a 4ms LIVE MODE. TRIGGER comes stock with a library of the industry standard STEVEN SLATE DRUMS drum samples. Elite mixers such as Chris Lord Alge, Mike Shipley, Dave Way, Jeff Juliano, Jay Baumgardner, Ben Grosse, David Kahn, and many more top names have relied on STEVEN SLATE DRUMS to help enhance the drum sounds in their mixes for years. All the samples in STEVEN SLATE DRUMS are recorded to 2 inch tape and processed with the finest in vintage and modern analog gear. STEVEN SLATE DRUMS include three sample layers including stereo room mic samples from the famous NRG RECORDING in North Hollywood, California.TRIGGER can also load expansion libraries such as Steven Slate Deluxe, Chris Lord Alge, and Terry Date. TRIGGER is the ultimate way to take your drum sounds to the next level without fuss or hassle. With its phase accurate engine, extreme detail, natural response, multiple drum layers, and professional STEVEN SLATE DRUMS sample library, you'll never have to worry about drums again.Instrument LibraryTRIGGER Platinum instrument library contains more than 2.3 GB of high-quality 24 bit samples compressed using TRIGGER lossless sample compression (6 GB uncompressed). TRIGGER Platinum instrument library includes: 46 snares (including 2 high-detailed Deluxe snares with adjustable overheads and 12 alternation hits per each velocity), 33 kick drums (including 2 Deluxe kick drums), 8 sets of toms.TRIGGER EX instrument library contains 10 snares including 1 from the Deluxe set and the "Old Zep" snare, 9 kick drums (including the modeled "Old Zep" and "ToneDef"), and 3 sets of toms. All samples are high-quality 24 bit samples compressed using TRIGGER lossless sample compression. With Trigger's instrument maker, you can also create your own multi velocity sample sets!!DemoThe Trigger demo version has some limitations.In the full version, there is some additional features that you won't get in the demo version:Midi In/Out WAV and AIF loading Additional TCI instruments loading Saving settings with project Preset savingMAC Minimum Requirements Multicore Intel CPU, clock speed of 1.7 GHz or moreDisplay resolution of 1024 x 768 or above2 GB RAM or more recommended2.4 GB free disc spaceiLok dongle (1 or 2)PC Minimum Requirements Windows 7® (32/64 bit)Intel or AMD CPU with SSE2 support, 1.7 GHz or moreDisplay resolution of 1024 x 768 or above2 GB RAM or more recommended2.4 GB free disc spaceiLok dongle (1 or 2)

Virtual Buss Compressors comprises three unique sounding, 100% analog modeled dynamic processors that are ideal for program material. Every nuance of real analog compressors has been modeled; including the exact nonlinear characteristics of their transformers, tubes, VCAs, amplifiers, phase distortions, harmonic distortions, and timing.All of the compressors in the VBC bundle have a variable hi-pass filter AND a mix knob that can be used to control the ratio/percentage of the compressed signal to the dry signal. Each compressor can be used in series, and the series rearranged by dragging and dropping (see information on “The Rack”). Compressing a mix with each one doing a very little amount can sound amazing! And, using the compressors in series within the ‘Rack’ also makes it very easy to A/B/C the compressors on source material. Finally, VBC will come with stock presets made by some of the industry's top mixers.The FG-GREY starts off with a very precise model of the classic British "4000 series console compressor". I've used the hardware model for many years but until studying the unit in the modeling process, I never fully appreciated just how magnificent the piece is. It has a way of being able to tighten, glue, and 'gel' the components of the mix in ways that can go from fairly transparent in auto release mode, to very aggressive in manual mode.This compressor is based on the classic RED faced compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago. I thought it was odd actually. Here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you've heard Chris's mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). The first thing I did was put it on my mix in the settings that Chris showed me... 1.5:1, attack around 10/11 o'clock, auto release, compressing just 2-3db tops. And.... WOW! One of the clearest, punchiest sounding rock mixes I'd ever heard come out of my own speakers. This unit was amazing.I've been lucky enough to hear some of the most classic tube based buss compressors such as the Fairchild 670 and Manley Vari Mu. There is some real magic that happens when your mix goes through a brilliantly designed piece of tube gear. The midrange thickens, the lows get tighter and rounder, and the top end opens up with a beautiful sparkle... and even better, those harsh upper mid overtones seems to get tamed. For the FG-MU, we put all of these wonderful qualities into the algorithm. First and foremost, to hear the FG-MU, you don't even have to do any compression. Just going through the processor without any gain reduction will inhibit a beautiful open sound due to the modeling of the tube circuit path. Even when I'm using the FG-GREY or FG-RED, I love using the VBC Rack just so I can have the audio pass through the FG-MU.While all three compressors are available as separate plug-ins in your DAW, you can also use them in our Virtual Buss Compressors Rack plug-in, in which they can be chained, reordered via drag and drop of the u-rack handles, and soloed independently.During the development of the VBC, I spoke to many top pros in the audio industry about mixbuss plug-in compressors. There seemed to be an overwhelming consensus that even though many of them were advertised as 'analog modeled', they still didn't have the classic sound of analog compressors. So Fabrice and I got to work. First we needed to examine the hardware compressors and the current crop of analog modeled plug-in compressors to see what was going on! And what we found was surprising. The classic analog compressors that we studied added some very complex nonlinear artifacts in their signal paths. Their sound was not simply based on their specific compression topology like timing and compression curves. Some of the analog compressors had modulations, dynamic harmonic distortions, dynamic phase distortion, saturation, crosstalk, and more. And just like in our Virtual Console Collection plug-in, these artifacts added a sonic imprint to the compression. Was this the magic sound that made the plug-in compressors sound different than the analog compressors? There was only one way to find out. We had to precisely model it. All of it!

Despite the digital revolution in the audio industry, many of today's top commercial albums are still mixed on analog consoles. Audio engineers rely on analog mixing to provide the nonlinear musical qualities that digital mixing does not produce. "When you mix through an analog desk you get this life and body to the sound that just doesn't happen when you mix inside the workstation. The separation and imaging from the analog summing is very apparent, especially when your track count gets high" remarks mixer Jay Baumgardner (Papa Roach, Evanescence).Over the past ten years, multiple audio manufacturers have produced simplified analog summing boxes that allow DAW users to get the benefits of analog mixing without having to use a full fledged analog desk. In 2001, Steven Slate made his mark in the analog summing world by commissioning Roll Music Systems to design and manufacture a custom analog summing box that was later named the FOLCROM. The FOLCROM continues to be one of the most popular analog summing boxes on the market, used by mixer Mike Shipley and other top names. Now in 2011, Slate once again stirs up the analog summing world, this time in the digital domain.The Slate Digital VIRTUAL CONSOLE COLLECTION brings the sound of 5 of the world's top analog consoles into your DAW workstation. "Slate Digital CTO Fabrice Gabriel and I studied these consoles inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes these consoles the legends that they are," says Slate.The VIRTUAL CONSOLE COLLECTION consists of two plugins, Virtual Channel and Virtual Mixbuss. Each plugin allows the user to choose from one of five modeled consoles. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer's "sweet spot."Features:Choose from 5 meticulously modeled analog consoles.Includes two plugins that faithfully reproduce the signal path of the consoles channel and mixbuss.Input Level control.Drive control.Sophisticated Grouping System.Global and Group Level Calibration Settings.VU Meter Ballistics.Console Output Trims.Real-time and Offline Oversampling SettingsSpecifications:MAC Minimum RequirementsDual Core Intel Processor, At Least 2 GB of RAMMac OS® X 10.6 or laterAU, RTAS, VSTPC Minimum RequirementsDual Core Intel or AMD Processor with SSE2 Support, At Least 2 GB RAMWindows 7® (32/64 Bit)RTAS, VST

Where sound becomes music! The Epure V3  is a five-band equalizer with an algorithm designed to deliver the most superior quality achievable in digital equalizing processing today. The logical and comprehensive user interface includes a range of quick "shortcut" functions to enhance and simplify the user workflow, allowing for ultra fast and precise operation.For surround/multichannel operation up to eight channels of I/O, four MS decoders/encoders and internal processing groups are provided, all routable using the built in routing matrix.A powerful go-to processor for your day-to-day session work, and a sharp-edged surgical precision tool for the most demanding equalizingtasks conceivableTDM/Venue version available.For the full feature set, hover your mouse over the small images to the right above.Epure V3 Band Features   Each of the five band-sections providesFilter type selectionlow cutlow shelvingpeakhi shelvinghi cutFrequency range covering the whole bandwidthQ factor adjustable (from 1.00 to 100.00)Gain control (ranged -24 dB to +24 dB)BypassEpure II User Interface Features    To match the perfection of the sound quality of the Epure II, we have provided a range of user interface functions to improve the workflow.Multiply gain (x2) affecting the gain value of the band-section.Divide gain (/2) affecting the gain value of the band-section.Invert, converting the band-section positive values to negative and vice versa. Signal Processing Features Master gain control.Bypass routes the incoming signal direct to the output for a true smooth transition between processed and clean signal. Preset and Parameter Handling Preset/Parameter slotsTo enhance the workflow the two Preset/Parameter slots, A and B, can be loaded with two full set of parameters at the same time. Apart from saving each preset, a "Global Preset" containing both the A and B settings, and the position of the "Morphing Slider", can be saved. Parameter Morphing Slider with AutomationThe Morphing Slider provides morphing between the parameter settings of slot A/B allowing for really creative and useful real-time tweaking. Enabling the Automation control button exposes the Morphing Slider to the host automation.Processing Specifications Epure II, as all Flux:: plug-ins, provideUp to 8 channels Input/Output.64-bits internal floating point processing.Sampling rate up to 384 kHz DXD (Pyramix DSP based).Sampling rate up to 384 kHz for native (AU/RTAS/VST).Compatibility All major native formats and TDM (Venue D-Show compatible)* are supported.Windows - XP, Vista, 7 all in both 32 and 64 bits.VST (2.4)RTAS*Mac OS X - 10.4, 10.5, 10.6 in 32 bits.VST (2.4)AURTAS**The TDM/RTAS version requires ProTools 7 or later.

The VIRTUAL MIX RACK continues the Slate Digital tradition of providing the absolute most authentically modeled analog sound in a digital audio plugin. The ‘VMR’ includes four world class mix modules, including two classic equalizers and two versatile mix compressors, with more modules to be developed.The ‘VMR’ operates as a Virtual 500 series rack with hot-swappable modules, putting your whole processing chain in ONE WINDOW. This allows you customize your own channel strip, with signal flow following the modules, in any order you choose. Mix and match filters from different EQs. Chain an EQ before or after your compressor. Moving modules around is easy, fast, and creates no break in audio playback. Audition signal chains faster, easier, and in real time with the Slate ‘VMR’.The FG-N is a digital recreation of one of the most classic discrete Class A British equalizers from the 70’s. All aspects of the circuit are modeled, including the rich harmonics and saturations that naturally occur when the equalizer is in use. The original model only contained one mid band, so we thought it would be nice to double it so that it has two mid bands. This equalizer is lush, fat, and bold. It sounds great on everything from drums to vocals, and can even add the perfect saturation to synth and electronic tracks.The FG-S is a digital recreation of one of the most famous British console equalizers from the 80’s. This equalizer also has rich harmonics and interactive mid bands with a fat musical tone. This is the ultimate workhorse mix eq that can be used on any track. It is great for surgical cutting strokes, or wide bell and shelf strokes for making drums and guitars punch out of the speakers.The FG-116 is the most precise digital replication of the classic American FET limiter. No expense was pared to capture every nuance of this classic sounding compressor/limiter. From its trademark timing characteristics to the extremely musical sound of its transformer, the FG-116 will give engineers the musical and fat tone that has made the hardware so famous. The FG-116 sounds great on everything like lead vocals, drums, and bass guitars.The FG-401 started as a recreation of the classic british console channel compressor, but morphed into quite a lot more. First, we gave it variable attack and release with increased range which added more tonal options. But then, we added an optimal transformer inout, and not just any transformer, the famous transformer from the British Class A Console!This adds a beautiful warmth and sheen to the compressor. Last, we added an entirely unique second circuit path that provides and additional smooth and rich tone. The FG-401 is perhaps the most versatile mix compressor in the world that can sound good on any source you feed into it!

The Sonnox Fraunhofer Pro-Codec Plug-In is designed for the real-time auditioning, encoding and decoding of audio signals using Fraunhofer codecs. In the past it has not been possible to critically audition and then encode multiple formats in real time within a host DAW environment. The revolutionary Sonnox Fraunhofer Pro-Codec now makes this possible, and includes extensive monitoring tools and built-in encoding/decoding features. Using this plug-in mix engineers may produce mixes optimised towards specific target codecs, thereby ensuring maximum fidelity. Similarly, Mastering engineers may audition in the final format and produce compensated masters for final encoding and distribution. Features Supported Codecs: - mp3, mp3 Surround, AAC-LC, HE-AAC, and HE-AAC v2 - mp3-HD and HD-AAC (Lossless Codecs) Ability to select up to five codecs for simultaneous export, in real time, to encoded files Comprehensive auditioning with glitchless switching Ability to audition the difference between input signal and codec output AB auditioning in real time between codecs, or between codec and input signal ABX mode for blind statistical testing Graphical displays include: - High resolution display of the Input signal and Diff signal. - Indication of the audibility of audio removed by the encoding process - Bitstream levels and ability to compensate for overloads - Indication of filesize or datastream compression - Phase metering Off-line encoding and decoding Compatible with many digital audio workstation applications, such as: - Pro Tools, Logic, Cubase, Nuendo, Sequoia and Wavelab. (Mac and PC)

Sonnox Restore is a suite of three plug-ins designed to accurately restore audio that is impaired. Its advanced algorithms and novel features allow fast and extremely effective removal of pops, clicks, crackles, scratches, hum, buzzes and extraneous background noise from virtually any recording.Contains: Oxford DeClicker, Oxford DeBuzzer and Oxford DeNoiser (Native format only - RTAS, AU or VST)

A well defined toolbox with a selection of Flux:: dynamic processing plug-ins and eq. providing a versatile and comprehensive set of precision tools for your everyday recording and mixing session work giving you the best processor for each task within the range of dynamics and equalization processing. Epure II is our State-Of-The-Art Equalizer, a five-band equalizer using one of our most complex proprietary algorithms ensuring the superior quality ever for a digital equalizing processor.  Each section provides- An individual bypass- Filter type that can be set to low cut, low shelving, peak, hi shelving or hi cut- Gain control with the range -24 dB to +24 dB- Frequency range covering the whole bandwidth- Q factor adjustable from 0.1 to 100   To match the perfection of the sound quality a range of user interface functions to improve the workflow are provided- Copy A and Copy B duplicate the twenty settings of one slot to the other with a single click- Morphing A/B allowing for ultra fast and precise operation- X2 and /2 affect the gain value for each equalizer section- Invert, to turn the positive gain values to negative ones and vice versa Pure Compressor produces a wide range of compressions from ultra clean subtle compressions to classic heavy pumping ones. It's up to your artistic choices not to the technology limitations.

 Pure DCompressor allows you to restore the original dynamic of a sound. The DCompressor is superior for heavily compressed signal adding some of that natural feeling to the sound.Pure Expander produces a wide range of expansion process from subtle expansions to hard noise-gate.
 Using Flux:: proprietary Angel's Share and Hysteresis algorithms Pure Expander allows you to remove unwanted noises or reverberation without adding a processed character to your sound.Pure DExpander enhances the low levels of the sound, magnifies the spatialization information and is also very useful when you want a compact expander sound. The Angel's Share algorithm permits some heavy processing though still keeping an organic character with the soundPure Limiter is using exquisite proprietary Flux:: algorithms generating a release-envelope producing no artifacts on the processed sound achieving a transparent limiting. A dramatic increase of the average audio level is easily achieved without damaging the perceived audio quality of the material.

This is the ultimate Vienna Symphonic Library anthology, from A to Z. 23 Collections, covering the symphonic orchestra and a lot more. This package includes every Vienna Instruments DVD Collection the Vienna Symphonic Library has ever released, except the Vienna Special Edition. With its unsurpassed number of over one million pristine sound recordings, this tour de force is by far the largest compilation of samples on the planet. And still, the power of Vienna Instruments lies in its simplicity, giving quick and easy access to this wealth of instruments and articulations, and rendering authentic results at the simple touch of a key.Includes: Solo Strings ISolo strings IIChamber Strings IChamber Strings IIOrchestral Srings IOrchestral Srings IIAppassionata Strings IAppassionata Strings IIHarpsWoodwinds IWoodwinds IISpecial WoodwindsBrass IBrass IISpecial BrassVienna Dimension BrassSaxophonesPercussionElementsVienna ImperialKonzerthaus OrganSpecial KeyboardsVienna Choir I

The Fundamentals In Dynamic Processing in a comprehensive bundle by Flux. Pure Compressor is the compressor section of the Solera. It uses the exclusive Angel's Share and Hysteresis algorithms developed by FLUX:: Pure Compressor produces a wide range of compressions from ultra clean subtle compressions to classic heavy pumping ones. It's up to your artistic choices not to the technology limitations. Pure Expander is the expander section of the Solera. The exclusive Angel's Share and Hysteresis algorithms developed by FLUX:: allows you to remove unwanted noises or reverberation without adding a processed character to your sound. Pure Expander produces a wide range of expansion process from subtle expansions to hard noise-gate. Pure DCompressor is the de-compressor section of the Solera. It uses the exclusive the Angel's Share and Hysteresis algorithms developed by FLUX:: Pure DCompressor allows you to restore the original dynamic of a sound. It's very useful for heavily compressed signal. Pure DCompressor adds some naturalness. Pure DExpander is the de-expander section of the Solera. It uses the exclusive the Angel's Share and Hysteresis algorithms developed by FLUX:: Pure DExpander enhances the low levels of the sound. The spacialization information is magnified. Pure DExpander also makes your sound more compact. The Angel's Share algorithm permits some heavy processing while keeping an organic character. Pure Limiter is supposed to be the very last stage of your audio processing chain. It uses the exclusive FLUX technologies to generate a release envelop producing no artefact on the processed sound. A transparent limiting dramatically increasing the average audio level can now be achieved without damaging the perceived audio quality.

Ircam HEar v3 provides faithful reproduction of a stereo or surround mix with a pair of conventional stereo headphones. It relies on proven technology to model the various phenomena that occur when playing back audio material through a loudspeaker system.This allows monitoring a full surround mix in situations when a surround-capable environment is not available or practical. Another typical use of HEar is doing precise checking of a mix, which is convenient with headphones as these provide a ‘surgical’ and very detailed, microscope-like rendering of the audio. HEar can also prove very useful in a project studio context, and whenever noise isolation is a concern, as it helps achieving a more realistic sound environment.Binaural technology Binaural technology encompasses methods for recording, processing, synthesizing and reproducing sound that are specifically designed to preserve tridimensional localisation properties.In order to mimic the impression of a sound originating from a given incidence, it is sufficient to filter a mono signal, which on its own lacks any kind of spatial information, with both left and right HRTF filters. This constitutes the foundation of binaural synthesis.Please note that the resulting signal is only meant to be listened to with headphones, and isn’t designed for a conventional stereo loudspeaker setup.

VERB Session is based on the same fine technology used in the acclaimed IRCAM VERB algorithmic room acoustics and reverberation processor, with a modular construction employing a recursive filtering reverb engine, reproducing and synthesizing the specific acoustical characteristics of any spatial sound environment, developed utilizing the results of over a decade of intense research by the Acoustic and Cognitive Spaces Team at the IRCAM R&D centre in Paris.Tailored for simplicity, with a fast paced workflow well-suited for situations where the perfect result has to be achieved within seconds, VERB Session presents the ultimate solution whether you are a seasoned session engineer or a demanding broadcast and post-production mixer.

Complete mastering solution by Flux, containing five plugins for dynamic range adjustment and tonal balance.Solera implements 4 different detectors and envelop generators in parallel and simultaneously.Compressor, de-compressor, expander and de-expander which can all be independently contolled. In addition, here are some of the key features that make our plug-in the best available for dynamic processing in the digital domain : An analog like metering. RMS values are more useful than dB-fs when setting a dynamic processor. The "Angel's Share" parameter takes into account the signal for intelligent relaxation of the compressor action. The "Hysteresis" parameter allows compressing and de-compressing, independently of the sound level and can be mixed with the standard compression scheme. The Auto Release features an unique algorithm that avoids typical pumping effect. A delay line can be inserted in the signal path to produce a null attack time. The A/B Compare and Morphing section enables ultra fast and precise operations. Dry Mix function to achieve the full control of the dynamic processing amount.Epure features for every section: Individual bypass. The filter type can be set to low cut, low shelving, peak, hi shelving, hi cut The gain be set from -24 dB to +24 dB The frequency range covers the whole bandwidth The Q factor can be adjusted from 0.1 to 1Epure also features five unique functions to make equalization even more easy: Copy A and Copy B duplicate the twenty settings of a slot to the other in one click X2 and /2 affect the gain value for every equalizer section Invert turns the positive gain values to negative ones and vice versaEpure includes internal Input /output routings. A channel group management allowing to set many channels or individual channel setting is also available from the new setup window. From this window, up to 4 MS encoders and up to 4 MS decoders can be engaged if required. Combined with our exclusive A /B morphing system, these functions enable a global and efficient control of the equalization curve in a second. Pure Limiter is supposed to be the very last stage of your audio processing chain. It uses the exclusive FLUX technologies to generate a release envelop producing no artefact on the processed sound.A transparent limiting dramatically increasing the average audio level can now be achieved without damaging the perceived audio quality.