Important Note: This product is only compatible with Windows operating systems.

The SSi Pro Channel incorporates our 3 great processors in to one beautiful plugin. With an easy to use interface and a fantastic analogue modelled sound and character the SSi Pro Channel will be your 'go to' channel strip.

Features:

• Beautiful analogue modelled channel strip
• Can be used on instrument tracks and the master buss
• Gate, Compressor, EQ, Master Section
• Customizable EQ section
• Professional vintage analogue GUI Design
• Very low CPU usage

SLAM2 comes from the original makers of the hit Slam series of plugins but with much more musical settings and a higher quality of sound. This plugin will keep you inspired and let you work fast & sound great!

What's new?

SLAM2 is designed to hide the complex and great-sounding processing behind the scenes and present a simple and inspiring Interface that is very intuitive and has all controls needed to “Phatten” Channel, Drums, Vocals, Synths, or an entire mix with just a few controls. Behind this simple interface lies very very complex processing.

The Thump control is a variable Q and Low Peak Filter which can never sound bad even at extreme settings. The BOOM dial is a sub-harmonic generator that gives you instant Sub Bass without multiple parameters, yes! it’s that intuitive. The Mud Cut removes unwanted low frequencies and cleans up a mix or track nicely.

The Heat section features 2 types of musical saturation to colour a dull mix or track. AIR adds that sweet ”sizzle” on the high frequencies and even at its max setting it’s never too much!

POP is a compressor based on the famous 1176 FET (a very authentic emulation) this adds the “POP” and “PUNCH” dynamically to the material.

The SMASH does exactly what it says, this can help increase the levels without the peaks, it’s an inflating limiter! The Stereo widener expands the stereo image starting from the mids to highs and not messing with the bass frequencies, you can even dial it down to mono summing! This keeps things musical and always compatible with broadcast and streaming standards of today. No messy phasing here!

The Mix dial lets you blend the processed signal with the original dry signal, so you can control the “amount” of the SLAM2 effect that you desire, aka Parallel Processing.

Note: This product is the Native version. You can purchase the HD version HERE.

Channel G Compact delivers the same sonic experience as Channel G with a smaller DSP footprint. Channel G Compact features calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Note: This product is the Native version. You can purchase the HD version HERE.

Analog Channel emulates the sounds of high-end analog tape machines, tape, and channel amplifiers.

Analog Channel is 2 plug-ins:

• AC101 – Emulates analog channel amplifier circuits
• AC202 – Emulates analog tape machines

The AC101 configuration acts as a digital pre-amp allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio “sits” in the saturation/compression region, and even the attack and release times of the distortion character are adjustable.

The AC202 configuration emulates analog tape machines. In addition to standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization, AC202 offers controls well beyond the limits of the reel-world devices including adjustable low frequency roll off and head bump – independent of playback speed. The user can select from several playback head types, tape formulations, and even control the tape saturation recovery time.

Please Note: This product is the Native version. You can purchase the HD version HERE.

The 6050 Ultimate Channel Strip has everything you need to make your mix sound great. All the modules from the award-winning 6020 Ultimate EQ and 6030 Ultimate Compressor plug-ins are included. Additional modules include gates, expanders, signal saturators, and specialized filters.

The 6050 Ultimate Channel Strip has input and output stages, wrapped around 3 module bays in which any of the 28 modules can be inserted. Easily drag and drop any module to rearrange the signal flow of your channel strip. A module selector panel allows quick auditioning of equalizers, compressors and additional effects. Like the original 6020 and 6030 plug-ins, each new module in the 6050 draws on classic and modern designs over the last four decades. Operation is simple and intuitive, and the sound quality is what professionals worldwide have come to know in McDSP plug-ins.

Artist Presets included from: Mike Dean, Bob Horn, Neal Avron, ROCAsound, John Feldmann, Aaron Harris, and Lovy Longomba.

Complete Channel Strip Plug-in

Bigger is Better

Originally designed for integrated compatibility between Studio One and StudioLive mixers, Fat Channel XT brings award-winning StudioLive processors and State Space models of vintage EQs and compressors to your DAW of choice.

Fat Channel XT was designed to be the ultimate channel strip for any input or bus with a variable high pass filter, gate/expander, compressor, EQ, and limiter—all in one singular plug-in. In addition to the classic StudioLive compressor and EQ modules, you get two State Space Modeled compressors and EQs recreated from coveted vintage studio gear.

Need more virtual analogue goodness? Fat Channel XT can be expanded with any or all of the eight compressors and seven EQ models in the Fat Channel Plug-in Collection.

The Channel that Built a Million Mixes

From the moment the original StudioLive shipped over a decade ago, the Fat Channel was an instant hit. With a fully variable high pass filter, a noise gate designed to never click, a musical compressor based on PreSonus’ famed ACP88, a four-band parametric EQ and a Limiter to round it all out, the Fat Channel gave StudioLive users all the tools they needed to craft the perfect mix.

As StudioLive mixers evolved, so too did the Fat Channel; and Fat Channel XT was born to provide a fully integrated experience for StudioLive Series III users inside Studio One. Now that same Fat Channel XT plug-in is available in VST3, AU, and AAX formats for nearly universal compatibility with 3rd party plug-in hosts.

The Fatter Channel

PreSonus developers stand at the forefront of State Space Modeling technology, and they put their expertise to good use when designing the latest-gen Fat Channel XT by adding hybrid State Space models of vintage compressors and EQs. After installation, you’ll find three compressor models complete with Key Listen functions, plus three EQ models inside Fat Channel XT.

The compressor and EQ order can be reversed, allowing for precision sculpting of your sound. Each processor can be disabled or enabled individually and if you need more virtual vintage goodies, PreSonus offers eight additional compressor models and seven additional EQ models as add-ons.

Compressor offers the following choices:

• Standard: A flexible, modern compressor, with a clean, hi-fi sound.
• Tube: A model of one of the best-loved vintage tube-based opto-compressors. Excels at vocal smoothing and at making bass instruments sound larger-than-life.
• FET: A model of one of the most-used vintage FET-based compressors. Great for adding an aggressive edge and accentuating room sound for drums, guitars, and other highly transient signals.

Equalizer offers the following choices:

• Standard: A flexible, full-featured modern EQ, with a clean, hi-fi sound.
• Passive: A model of one of the most sought-after vintage tube-based passive EQs. Deceptively simple controls and a rich, thick sound make it perfect for gentle tone-shaping or adding vintage character.
• Vintage: A model of what some call the “final word” in vintage solid-state EQs. Combines an “everything sounds better through it” quality with musically chosen EQ frequencies for quick, reliable tonal magic.

State of the Art

The vintage compressors and EQ in Fat Channel XT are meticulously recreated from the original analogue circuits using State Space Modeling technology. This same technology also powers the Ampire amp models, Channel Strip Collection plug-ins, and the Studio One Console Shaper, ensuring that the nuanced, variable sonic character of analogue survives its transition to the digital realm.

State-Space Modeling isn’t just about sampling vintage compressors and EQs and getting some sounds within the sonic ballpark, no—State Space Modeling is the surgical measuring and re-creation of old hardware on the per-component level. Each capacitor, every resistor, all the diodes and every nonlinear circuitry element of the complete hardware schematics have their behaviour measured, modelled, and re-created... including even component-specific non-linearities.

The result? Wonderfully perfect virtual models of wonderfully imperfect audio hardware. No transformer unturned, no valve left behind.

Note: This product is the HD version. You can purchase the Native version HERE.

The 6050 Ultimate Channel Strip has everything you need to make your mix sound great. All the modules from the award-winning 6020 Ultimate EQ and 6030 Ultimate Compressor plug-ins are included. Additional modules include gates, expanders, signal saturators, and specialized filters.

The 6050 Ultimate Channel Strip has input and output stages, wrapped around 3 module bays in which any of the 28 modules can be inserted. Easily drag and drop any module to rearrange the signal flow of your channel strip. A module selector panel allows quick auditioning of equalizers, compressors and additional effects. Like the original 6020 and 6030 plug-ins, each new module in the 6050 draws on classic and modern designs over the last four decades. Operation is simple and intuitive, and the sound quality is what professionals worldwide have come to know in McDSP plug-ins.

Artist Presets included from: Mike Dean, Bob Horn, Neal Avron, ROCAsound, John Feldmann, Aaron Harris, and Lovy Longomba.

Note: This product is the HD version. You can purchase the Native version HERE.

Analog Channel emulates the sounds of high-end analog tape machines, tape, and channel amplifiers.

Analog Channel is 2 plug-ins:

• AC101 – Emulates analog channel amplifier circuits
• AC202 – Emulates analog tape machines

The AC101 configuration acts as a digital pre-amp allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio “sits” in the saturation/compression region, and even the attack and release times of the distortion character are adjustable.

The AC202 configuration emulates analog tape machines. In addition to standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization, AC202 offers controls well beyond the limits of the reel-world devices including adjustable low frequency roll off and head bump – independent of playback speed. The user can select from several playback head types, tape formulations, and even control the tape saturation recovery time.

Please Note: This product is the Native version. You can purchase the HD version HERE.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Channel G is 3 plug-ins:

• G Dynamics – a fully featured console style dynamics section with an Expander/Gate, Compressor/Limiter, and a versatile filter section
• G Equalizer – a five-band professional grade console style EQ with a versatile filter section
• G Console – a combination of the G Dynamics and G Equalizer configurations

All Channel G configurations feature calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Saturation / Dynamics / EQ

Goliath V2 features 4 analogue modelled processing chains featuring ALLOY (Nickel, Iron, Steel based Transformers), TUBE, TAPE & VINYL with a drive control plus a FET based envelope and a 3 band EQ.

This is a truly revolutionary and “analogue” sounding tool. Be prepared to be pleasantly surprised!

What’s New?

Goliath, Tone Empire's top-selling plugin is back in a brand new avatar with a completely new sound engine and new features.

This plugin now has 4 types of Saturation models – Alloy, Tube, Tape & Vinyl with Drive. Tone Empire now use their Advanced DSP models featuring their own proprietary “Multi Convolution” & Component Modelling Technique to simulate “Real” hardware chains of analogue gear. Additionally, the plugin now features a full FET compressor in its envelope section and a 3 band EQ plus a Low Cut Filter.

All these engines make Goliath V2 a great sounding & versatile channel strip with multiple colours of sound processing.

If you love that vintage analogue “goodness”, then Goliath V2 is for you!

Analog Modelled Processing Chain Section

In order to develop Tone Empire's fantastic and realistic sounding analogue chains, Tone Empire used multiple samples of hitting the gear at different levels using Tone Empire's proprietary “Multi Convolution” & Component Modelling Technique.
Hence you actually get the “REAL” sound of the gear!

The signal chain in Goliath V2 is: Low Cut EQ > Analog Processing Selector (4 choices) > ENVELOPE Section > EQ Section.

The 32C Channel combines 3 of Harrison's most renowned processing elements - the 32C EQ, the 32C filters, and the Mixbus channel compressor - into a single plugin with adjustable signal-flow.

For more than 45 years Harrison analog consoles have been a mainstay in studios around the world. The Harrison 32 Series was used on countless renowned albums, generating the sounds that we all carry in our hearts today.

32C Equalizer

In 1975, Dave Harrison launched the 32Series console. For nearly a decade, the 32Series remained the go-to console for new studio construction around the world.

Predating the modern parametric EQ, the 32Series equalizer had to serve many purposes and remain easy to use. The middle 2 bands use a proportional-Q design: small gain changes provide for gentle classical-style tone controls; but cut a little harder and the filters become sharper, allowing you to hunt down and then notch-out troublesome frequencies. The high and low bands are a shelving design with a huge gain range, allowing you to add dramatic punch and shimmer to any source. If you needed more surgical work, however, you could switch the high and low bands to operate as additional proportional-Q 'bell' filters. The effort put into voicing this eq was unmatched at the time, and its signature remains on some of the biggest records ever made.

The 32C Channel Plugin provides a complex emulation of the original Harrison 32C EQ. Every resistor, capacitor, and transistor is included in the model.  When combined with the 32C Filter section, a huge range of tonal possibilities are available with just a few knob turns.

Mixbus Channelstrip Compressor 

A channelstrip plugin isn't complete without a great compressor. The story of the 32C Channel compressor starts in 2009 when Harrison developed the Mixbus workstation.

Harrison has a unique history with digitally-controlled-analog consoles, allowing them to compile the settings that are most often used on their large-format consoles. To match the flexibility and ease of the 32C EQ, Harrison delved into their records to see what settings would be most appropriate for a general purpose channel compressor. They found 3 'types' of settings were favored by their users:

• a 'compressor' mode with an adjustable ratio, moderate attack, and program-dependent auto-release: for general purpose guitar, keyboard, and overall-mix compression
• a 'leveler' mode with an adjustable attack, a fast release, and a very gentle ratio: for "always-on" vocal compression
• a 'limiter' mode with adjustable release timing, instant attack, aggressive ratio, and a multistage hold+release envelope for drums and other percussive sources

By simplifying the compressor into these 3 modes, the Mixbus compressor helps you recreate these signature compression effects with minimal effort.

32C Filters

The 32 Series consoles provided a pair of steep high-pass and low-pass filters to accommodate sources with undesired rumble or hiss.

These unique filters took advantage of newly developed 'dual log' potentiometers to cover an extraordinarily wide sweep range: so wide that you could effectively overlap the filters until the passband was eliminated. Mixing engineers like Bruce Swedien used this feature to pack more instruments into a mix without interfering with each other, and credited the 32C filters as a critical part of their arsenal.

The “bump” button recreates the slight resonance of the original filter, resulting in extra low-end punch just above the filter's cutoff frequency. Use the 'bump' button to retain the presence of a vocal while filtering out the unwanted rumble picked up by the microphone. 

Master Input & Output

The Master input & out section provides level controls at the start and end of the signal chain, as well as a polarity switch.

Combined with the Routing section, below, the 32C Channel plugin provides a multitude of ways to gain-stage your signal.

The final output meter provides a visual reference of your track's output level. The meter's ballistic movement is carefully tuned so you can match the level of your bass, kick, and lead vocal for an explosive pop mix.

Automatable Routing

The routing section provides automatable routing order of the Filters, EQ, and Compressor stages.

Every stage has an Audition ('Ear') button to solo an individual stage, and the routing section also provides an Audition button for each point in the signal flow, between each element. This allows you to listen to the effect of one, two, or all three elements in their assigned order.

This was a game-changing feature for post & film users, and is now available in the 32C Channel plugin for music mixing.

Note: This product is the HD version. You can purchase the Native version HERE.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Channel G is 3 plug-ins:

• G Dynamics – a fully featured console style dynamics section with an Expander/Gate, Compressor/Limiter, and a versatile filter section
• G Equalizer – a five-band professional grade console style EQ with a versatile filter section
• G Console – a combination of the G Dynamics and G Equalizer configurations

All Channel G configurations feature calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Note: This product is the Native version. The HD version is also available.

The 6060 Ultimate Module Collection contains the largest collection of processing options of any module-based plug-in available. The 6060 includes over 30 unique modules for EQ, compression, saturation, distortion, specialized filtering, dynamic range expansion, gating, and more. Custom modules include bass optimized biasing for the larger than life low end, transformer-based tone shaping circuits for high end shine, tape simulation, de-essing and new EQ and compression designs.  Additional modules are already in the works.

The 6060 allows up to six modules to be operated at once. Modules can be arranged in any order and swapped on the fly using the module selector panel, or from the popup menu in each module. Any combination of modules can even be split into two separate signal paths for some serious parallel processing.  

The 6060 also includes updated compression algorithms not available in the 6050 Ultimate Channel Strip or the original 6030 Ultimate Compressor. Improvements include feedback and feedforward processing, and the rare option of negative compression on a few select modules.  

The 6060 is indeed, the ultimate module collection.

Your New Favourite Channel Strip

The FilkChannel Strip is an analog modelled plugin based on some of the best Danner Cassette Modules made in the '70s. It features several tonal options, from light analog warmth on vocals, acoustic guitars and mix bus, to gritty driven tones for aggressive, in-your-face drums, bass, and heavy guitars!

This channel strip contains 3 modules...

PRE70

The preamp section of the FilkChannel allows you to take your sounds from warm and analog tones (set to the left) as well as aggressive harmonics and distortion (set to the right) In addition, this module has an added trim knob to attenuate the added gain from the input knob. As well as a dry/wet knob to blend the distortion.

EQ7D

The EQ section of the FilkChannel gives you 3 bands of parametric EQ so you can adjust your sounds any way you want. This section also includes a highpass and lowpass filter both ranging from 20Hz to 20kHz as well as shelf buttons to change the curve of the high and low-frequency bands.

COMP2R

The Compressor section of the FilkChannel allows you to add punch and attack to your tracks with the fixed attack and release opto style compressor. Use the in and out knobs to adjust the amount of compressor and set the ratio using the variable-ratio knob. This section also includes a dry/wet mix knob to dial back the amount of compression, a sidechain filter ranging from 20Hz to 12kHz, as well as a “mode” switch to switch between snappy compression (NRML MODE) and more subtle soft compression (BUS MODE).

The Modern Way to Mix

From the makers of popular audio plug-ins like RX and Ozone, Neutron 3 is designed to bring your mix workflows into the 21st century. The completely new Neutron Elements includes 4 powerful tools for great mixes for less than the cost of a single plug-in. At $129, it’s the easiest way to get your feet wet with all the tools Neutron has to offer and add some serious power to your plug-in collection. It’s the easiest, most intelligent way to bring unrivalled quality and speed to your mix. 

Neutron 3 packages the latest advances in audio and passes them on to you—so you can focus on your craft.

4 plug-ins for the price of 1

Neutron Elements includes an EQ, Compressor, Transient Shaper, and Exciter built with an obsession for great sound. Pick from hundreds of professionally designed presets or go totally manual with confidence that you’re on your way to a great mix.

Machine learning that listens

Neutron is the first-ever collection of mixing plug-ins that can listen to audio and suggest a custom preset to fit your taste. Just select the intensity, and Track Assistant will identify instruments and suggest settings in the signal chain that compliment what it hears—in under 10 seconds.

Touch your audio

Resizeable, beautiful, and faster than ever. Dive into analysis tools to enhance your mixing experience and get results with plug-in controls made for humans, not machines. 

Note: This product is the HD version. The Native version is also available.

The 6060 Ultimate Module Collection contains the largest collection of processing options of any module-based plug-in available. The 6060 includes over 30 unique modules for EQ, compression, saturation, distortion, specialized filtering, dynamic range expansion, gating, and more. Custom modules include bass optimized biasing for the larger than life low end, transformer-based tone shaping circuits for high end shine, tape simulation, de-essing and new EQ and compression designs.  Additional modules are already in the works.
The 6060 allows up to six modules to be operated at once. Modules can be arranged in any order and swapped on the fly using the module selector panel, or from the popup menu in each module. Any combination of modules can even be split into two separate signal paths for some serious parallel processing.  

The 6060 also includes updated compression algorithms not available in the 6050 Ultimate Channel Strip or the original 6030 Ultimate Compressor. Improvements include feedback and feedforward processing, and the rare option of negative compression on a few select modules.  

The 6060 is indeed, the ultimate module collection.

The Modern Way to Mix

The following Upgrades & Crossgrades are also available:

• Neutron 3 Advanced Upgrade from Neutron 1-2 Advanced
• Neutron 3 Advanced Upgrade from Neutron 1-2 Standard
• Neutron 3 Advanced Upgrade from Neutron Elements
• Neutron 3 Advanced Upgrade from Music Production Suite 2 or RX Post Production Suite 3

From the makers of Ozone and RX, Neutron 3 will bring your mixes into the 21st century with new assistive audio technology, new interactive visuals, and faster performance.

We're Transforming Mixing

Neutron 3 packages the latest advances in audio technology and passes them to you, so you can focus on your craft.

Mix Assistant

With Mix Assistant, Neutron 3 can automatically sculpt your tracks and balance your levels, so you can get right into the creative flow.

Start your Track

Neutron's Track Enhance seamlessly detects and molds your instrument sounds with tools like the new Sculptor module.

Start your Mix

Neutron 3 listens to your whole session and kicks things off right by suggesting an initial level mix.

Sculptor Module

The be-all, end-all of audio goodness. For sweetening, fixing, and even creative applications, Sculptor is like having an army of EQs and compressors working tirelessly to shape your track. Choose from 25 unique instrument profiles to shape your instrument into a totally new version of itself.

Having a vintage gear collection in the studio is nice and inspirational but unfortunately, it is also time-consuming and expensive. SounDevice Studio's owner, Boris Carloff, knows this very well, as he has been collecting vintage gear for more than 20 years: "There is always something not working. From tubes to scratchy pots, from meters to noisy caps. And the units are so rare that you can hardly ever use them on multiple channels simultaneously." To avoid these limitations, United Plugins were inspired to create a solution that included the best of these devices into one plugin. The result is UniChannel.

Key Features

Complete Vintage Studio

UniChannel delivers the warm analogue sound, but unlike its real hardware counterparts, it can be connected to every channel of your mix. You can also change the components with one click (instead of using a screwdriver or a patch bay). UniChannel has a preset for every occasion. And there are no ageing and broken components to maintain!

27+ Plugins

UniChannel includes 3 preamp types, 3 kinds of EQ, and 3 compressor types. That makes a total of 27 combinations, with a unique character for each of them. That’s 27 unique plugins in one! Bypass the EQ or the Compressor and you will hear that the sound variety is almost endless. Variety inspires.

VARM II

VARM II is technology based on knowledge of chaotic behaviour and randomness of the analogue world. Thanks to VARM II, each plugin instance acts slightly differently. VARM models randomness of the subtle differences of the values of the electrical parts - exactly as in the real electrical units and the real console channels. The result is the truest representation of the hardware units’ sound.

The Germans

The full German Channel is amazing on the drum buss. It is something like magic on voice, and United Pugins wouldn’t use anything else for jazzy styles or ballad intimacy. German features a fifties-style tube preamp, sixties-style rare EQ, and a very early fifties tube vari-mu compressor.

American Sound

The US eighties-style op-amp preamp and the eighties-style EQ have mid punch, great for electric guitar or toms, and the US early fifties tube compressor is a fat monster that makes vocals silky with amazing colour.

Classic British

The Classic British channel brings you fat transformer colour for aggressive bass, kick drum, and rock attitude. It includes a British seventies-style transformer fat preamp, a seventies-style EQ, and a seventies-style diode bridge compressor.

Hassle-Free Software Protection

No iLok, no dongle nor internet access is required for activation. United Plugins software uses license files to activate your software. You can freely use the purchased software on all your computers as long as you are the user.

Realistic 3D Yet Flexible GUI

The photorealistic graphic user interface of the plugin gives you the feeling you are touching the real hardware. But it easily adapts to your needs. You can always drag the arrow in the bottom right corner to change its size - make it smaller to save valuable screen space, or enlarge it to make it easier to use.

15-Days Unlimited Trial Version for FREE

All the descriptions are nothing compared to putting your hands on the plugin. No saving limits. No noises. No boundaries. Engage the plugin in your project for real and fully exploit its powers for two weeks.

64-bit Audio Quality at ANY Sampling Rate

The plugin provides the maximum audio quality you can get. It uses internal 64-bit audio processing and can handle any sampling rate. 192 kHz or even higher.

Intelligent Sleep on Silence

This plugin intelligently detects whether it makes sense to perform processing at all. And if not, it temporarily turns on sleep mode. In such a state, it requires virtually no CPU at all to save the computing sources for other processes.

AVA Drum Flow

Your 'Drum Sound' provides the heartbeat of a song; it's the foundation that every classic mix is built on.

Everyone wants a unique drum sound, and you can't get there by replacing all your drums with the same old samples!  Working with real drums is a challenge because every drum, drummer, and room requires a different approach.  The trick is to extract the maximum 'punch' without losing the nuance.  The AVA Drum Flow plugin can help you get there without skipping a beat!

AVA Drum Flow is an all-in-one processing suite designed specifically to improve your drum tones. It contains 6 routable processing elements and a master section with input, output, and routing controls.

The elements included are:

• Drum Character - A unique equalizer that detects drum hit transients and allows for the attack and tail sections of the envelope to be EQed individually.
• Expander/Gate - A versatile dynamics processor that can be used as either an expander or gate to tighten your drum sounds and remove bleed from other nearby drum mics
• Signal Generator - Enhance your drum sounds with extra 'snap' or 'thump' by blending in a gated noise or low-frequency tone. 
• Compressor - Harrison's full-featured console compressor with Ratio, Attack, Release, and Makeup controls
• 32C Channel EQ - An emulation of Harrison’s renowned 32C channel strip EQ.
• Filters - High- and low- pass filters with selectable shapes.

Processing Elements

Drum Character

The Drum Character is an EQ that detects the transients of drum hits and allows you to EQ their Attack and Tail ranges separately.

The Threshold slider attached to the input meter on the left sets the level at which the Drum Character EQ gets triggered. Whenever the input signal exceeds the Threshold, the Trigger Indicator light above the input meter will flash indicating that a new drum hit transient has been detected. Set the Threshold so that it only triggers the desired drum hits.

Waveform Display 

When a new drum hit is detected, its transient waveform will be shown on the Waveform Display at the bottom. The Waveform Display has controls for setting the Attack and Tail ranges of the transient. The Attack Width parameter sets the point in milliseconds in which the Attack range ends and the Tail range begins. The Tail Width parameter sets the amount of milliseconds in which the Tail range extends past the Attack Width. The Attack and Tail Widths can be adjusted on the Waveform Display using the sliders labelled “A” and “T” respectively or with the corresponding control labels above the display. 

EQ Displays 

Adjust the EQ settings for the Attack and Tail ranges using the EQ displays at the top of the module. The display on the left is the Attack EQ which is only applied to the section of audio within the Attack range. The display on the right is the Tail EQ which is only applied to the section of audio within the Tail range. The Attack and Tail EQs each have 2 bands which are labelled 1 and 2. The bands can be adjusted by clicking and dragging them on the graphs or by using the corresponding controls below the graphs.

The Attack and Tail EQ graphs provide a visual display of the EQ curves and allow for direct “hands-on” control of the bands. Each band is represented by a “bubble” on the graph which can be used to adjust its parameters. Click and drag a band’s control bubble to adjust its Frequency and Gain. You can also adjust the Q by right-clicking & dragging or by scrolling the mouse wheel over a band. Alt-clicking a band will reset it to its default state, while double-clicking will reset its Gain only. Special control modifiers such as these allow you to do a lot more with the band controls. For a complete list of control modifiers and shortcuts, see the Control Behaviors & Shortcuts section of the manual.

EQ Controls

The EQ control sections below the graph allow for more advanced control over the bands’ parameters. Each of the 4 band control sections contains controls for the corresponding band’s Enablement, Shape, Frequency, Q, and Gain. You can enable or disable a band by toggling the IN button at the top-left of its control section. 
Directly below the IN button is the band Shape selector. Clicking this will open a menu where you can select the EQ shape for the corresponding band. 

• Each band has the following shape options:
• Low Shelf (12 dB/Octave)
• High Shelf (12 dB/Octave)
• Bell
• Notch (infinite “cut” at the selected frequency, with adjustable Q width)

The control sections also provide Frequency, Q, and Gain controls which can be adjusted by clicking and dragging their value labels or by typing new values directly into them. For ease of use, these will accept bare numbers such as “500” or numbers with units such as “500Hz”, “1k”, “1kHz”, “20dB”, etc. 

Auto/Quick Solo

The Auto Solo function allows you to isolate the individual ranges while you adjust their controls. When the Auto Solo button is toggled on, adjusting the Attack EQ bands or the Attack Width will automatically solo the Attack portion of the transient and adjusting the Tail EQ bands or the Tail Width will automatically solo the Tail portion. The solo will only remain active for as long as the control is being adjusted. 

Another way to solo the Attack or Tail range is to use the Quick Solo modifier key. When adjusting any of the EQ or Width controls, you can hold down the Control key on your keyboard to temporarily solo the corresponding range until the key is let go or until the control is no longer being adjusted.   

Expander/Gate

The Expander/Gate is a dynamics processor that attenuates signals below a set threshold. This is useful for removing unwanted parts of a signal that were picked up due to microphone bleed. 

The slider attached to the Input Meter on the left controls the Threshold. The Threshold sets the dB level in which the Expander/Gate opens. Signals above the threshold will be allowed to pass through unaffected while signals below the Threshold will be attenuated. 

Directly to the right of the Input Meter is the Reduction Meter which displays the level of gain reduction in dB.

The Depth sets the amount of gain reduction that is applied when the Expander/Gate is fully closed.

The Attack sets the amount of milliseconds it takes for the Expander/Gate to open fully once the Threshold has been exceeded.

The Release sets the amount of milliseconds it takes for the Expander/Gate to close all the way once the input signal falls below the Threshold.
The Mode switch at the top toggles between Gate and Expander mode. The availability of certain controls depends on the selected mode. The Hold and Hysteresis are only available in Gate mode and the Ratio and Knee are only available in Expander mode.

Gate Controls

The Hold sets the amount of milliseconds the gate will stay open for once the input signal has dropped below the Threshold.

The Hysteresis sets the amount of dB below the Threshold in which the Gate will close. This allows the signal to fall below the Threshold by a certain amount of dB before the Gate starts closing. For example, if the Threshold is set to -12dB and the Hysteresis is at 4dB, the Gate will open at -12dB and close at -16dB (4dB below the Threshold). 

Expander Controls

The Ratio determines the amount of gain reduction applied for every decibel the signal falls below the Threshold. For example, a ratio of 2:1 means that an input signal that is 1dB below the Threshold will be reduced so that the output is 2dB below the Threshold.

The Knee controls the “smoothness” of the Ratio angle. With a low Knee value (Hard Knee), the Expander will react more abruptly as the signal crosses the Threshold. With a high Knee value (Soft Knee), the Expander will react more gradually. 

Sidechain Filter

The Expander/Gate has a Sidechain Filter that can be used to filter the key signal that triggers the Expander or Gate. It is a band-pass filter that attenuates all frequencies outside of the target frequency range so that the Expander/Gate will be more sensitive to signals within that range. The Sidechain Filter controls can be found in the Sidechain Filter section at the bottom. The FILTER IN button toggles the filter in or out. When the Filter is toggled in, the other Filter controls will become enabled. The Freq control sets the center frequency of the Filter and the Q control sets the width of the band-pass range around it. The LISTEN button allows you to hear the filtered sidechain signal when toggled on.

Signal Generator

The Signal Generator offers a convenient way to enhance drum hits with various types of synthesized signals, such as white noise on a snare or a low-frequency sine wave on a kick. The generated signal is fed through a gate which is keyed off of the main input allowing the signal to be triggered on drum hits. The generated signal can then be blended with the main input signal in parallel using the Wet and Dry faders. 

Signal Type

Choose the type of signal you want to generate using the Signal Type menu at the top. You can select between Sine Wave, White Noise,  Int. Input, or Ext. Input. 

• In Sine Wave mode, the Sine Freq slider will become enabled allowing you to set the frequency of the sine wave.
• In Int. Input (Internal Input) mode, instead of generating a signal, it sends a duplicate of the direct input through the gate to allow for parallel gating.
• Ext. Input (External Input) mode takes whatever signal is being sent to the plugin’s external key (sidechain) input and uses it as the generated signal. This allows you to use signals generated from external sources outside the plugin.

AVA Bass Flow

AVA-BF is a channel strip plugin designed for mixing bass. It contains 4 routable processing elements and a master section with input, output, and routing controls.

The elements included are:

• Bass Character - A unique 2-band EQ that tracks the pitch of bass notes and allows for boosting or cutting the harmonics within the spectrum of the instrument.
• Spectral Bass Compressor - A spectral compressor with 6 control bands that are perfectly suited to help with electric bass problems like fret buzz, amp/room resonances, and lack of clarity.
• Equalizer - An intuitive 5-band EQ with 2 additional filter bands and a wide variety of band shapes.
• Chorus - A creative effect that can be used to boost presence or to add motion to a bass signal.

Module Controls

The processing elements are separated into modules which can each be individually bypassed, soloed, and reset using the following controls on each module’s top bar. 

• The Reset button resets all of a module’s parameters to their default states (not including RTA controls).
• The Solo button bypasses all processing outside of the module being soloed except for master controls (polarity, input and output trim). This allows individual modules to be auditioned exclusively without hearing the effects of any of the other modules.
• The In button toggles the enablement of each module. If disabled, a module’s processing is bypassed and its effects will not be heard.

Master Controls

The Master Control section at the bottom-right corner of the plugin window contains controls for switching input polarity, adjusting input & output trim, and setting the order of routing between elements. 

You can change the routing order by clicking and dragging a routing item to a new position. The arrows show the direction of signal flow from top to bottom. 

The “ear” icon buttons to the right of the routing items indicate Router Listen points. These buttons allow you to listen to specific positions along the signal chain by automatically bypassing all modules past the selected point in the routing order. 

The Solo/Listen Clear button at the bottom of the Master Control section clears any active Routing Listen point as well as any modules that are soloed. It will light up to indicate whenever either of these is currently active.

Processing Elements

Bass Character

The Bass Character is a unique EQ that follows the pitch of the note being played, allowing you to boost or cut the harmonics within each note and thus alter the actual character of the bass sound. 

The Bass Character has two bands: one for adjusting the Body of the note and the other for adjusting the Clarity. The corresponding band control “bubbles” on the graph are labelled “B” and “C” respectively. 

Equalizer

The Equalizer module consists of a 5-band EQ with 2 additional filter bands, an Output Trim control, and an optional RTA display. Each band has adjustable Frequency, Gain, Shape, and Q parameters as well as the option to toggle it in or out. You can control the bands directly on the EQ Graph or with their corresponding controls below the graph.

Spectral Bass Compressor

The Spectral Bass Compressor is a multiband compressor designed especially for bass. It allows for applying compression selectively across 6 frequency bands focused in the lower end of the spectrum where bass notes mainly reside. 

On the far left of the module is an input meter displaying the level of the input signal in dB. The slider attached to it controls the overall Threshold of the compressor. 

Below the graph are 6 control sections containing Depth and Sensitivity controls for the corresponding band ranges which are labelled at the top of each section. The Depth parameter sets the maximum gain reduction that can be applied to the corresponding band range. The Sensitivity adjusts the level fed to the compressor’s key input for each band range. This essentially dictates how “sensitively” each band reacts to levels above the Threshold, which can help with distributing compression more evenly across the spectrum if necessary. 

The Spectral Bass Compressor also includes a graphical display that provides a visual representation of gain reduction across the frequency spectrum. The input signal is represented by the yellow curve on the bottom half of the display, while the top half shows the gain reduction across the spectrum in red. The level of the compressed signal relative to the input signal is shown by the red line inside the input curve.

The Knee knob controls the compressor Knee. With a low Knee value (Hard Knee), the compression will activate more abruptly as the signal passes over the Threshold. A high Knee value (Soft Knee) will apply the gain reduction more gradually as the signal passes the threshold.

The Release knob controls how long it takes the signal to return to an uncompressed state once it falls below the threshold.

The Makeup knob trims the compressor’s output level up or down between -24dB and +24dB as needed for gain compensation. 

The EXT. KEY IN button near the top left corner of the compressor module enables the external key input when toggled on. This switches the compressor’s key input to whatever signal is sent to the plugin’s sidechain input so that the compressor is triggered off of the external signal instead of the one being fed directly to it.

Chorus

The Chorus is an effect that can be used to boost overall presence and add some extra flair to a bass signal. It has Detune and Delay controls for dialling in the effect and a Mix control for blending it with the dry signal.

The Chorus effect adds 2 pitch-shifted voices: one above and one below the input signal. 

• Detune controls the amount in which the 2 voices are pitch-shifted up and down from the original signal (measured in cents).
• Delay adjusts the delay offset from the original signal in milliseconds.
• Mix sets the percentage of wet signal that gets blended with the dry signal.