We're currently living in the age of digital audio. Channel Strip is an incredibly powerful tool that is essential to any music producer.

But there are so many different Channel Strip plugins in the music production landscape, so we decided to create the ultimate list of the top Channel Strip plugins today that will help you find the perfect fit.


SSi Pro Channel v3

Channel Strip by Minimal System Group



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Description


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



Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • PC running a Windows operating system. VST compatible DAW or VST hosting software
  • This plugin is 32bit but can be run on 64bit systems using jBridge
  • This plugin also operates within the 64bit versions of Cubase, Nuendo, Bitwig Studio, Reaper, Tracktion, Renoise, FL Studio, Sonar, Mixcraft and Samplitude using their inbuilt bridging
  • It is recommended that you always try out the demo before purchases to ensure that the plugin is compatible with your system

Host Compatibility

  • Minimal System Group Plugins run on Windows based PC's using a suitable VST host or DAW. Our plugins have been fully tested within Ableton Live, Adobe Audition, Cakewalk Sonar, FL Studio, Energy XT, Presonus Studio One, Renoise, and Cubase

Please Note: This plugin is 32bit but can be run on 64bit systems using jBridge

OS Compatibility



SLAM2

Channel Strip by BeatSkillz



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Description


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.




Features

  • Easy to use
  • Great on tracks, busses, and mixes
  • Punchy, clear, and wide sound
  • SLAM your drums, bass, vocals, synths, and other sounds
  • Dry and Wet controls built-in
  • Pro results without chains of plugins or confusing parameters

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac

  • macOS 10.14 Mojave or later (Catalina and Big Sur supported)
  • Intel i5 or later
  • 2 GB RAM / 300 MB HD
  • Screen resolution: 1024x768
  • VST3, AU and AAX compatible (64-bit only)

Windows

  • Windows 10 or later 
  • Intel i5 or later / AMD Athlon 64 or equivalent
  • 2 GB RAM / 300 MB HD
  • Screen Resolution: 1024x768
  • VST3 and AAX compatible (64-bit only)

Note: An internet connection is required for download and activation.

OS Compatibility



Channel G Compact Native

Channel Strip by McDSP



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Description


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.




Features

  • High pass and low pass filters with selectable slopes of up 12 and 24 dB/Oct
  • Full-featured Compressor/Limiter
  • Four-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

Native v6 Software Support:

  • AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

OS Compatibility



Analog Channel Native

Channel Strip by McDSP



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Description


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.




Features

  • Library of presets emulating analog mixing systems
  • Real-time display of saturation curves and calibrations
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

Native v6 Software Support:

  • AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

OS Compatibility



6050 Ultimate Channel Strip Native

Channel Strip by McDSP



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Description


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.




Features

  • Over 25 EQ, compressor, gate, expander, saturator, and filter modules
  • Easy drag and drop, on the fly module auditioning
  • Side chain support
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions
  • New Modules

  • Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to taylor the ‘edge’ added by the S671 to a variety of applications.

  • If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

  • In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

  • The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

  • A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

  • Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

  • Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable signal chain filtering is included.

  • The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

Native v6 Software Support:

  • AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

OS Compatibility



Fat Channel XT

Channel Strip by PreSonus



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Description


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.




Features

  • Compatible with VST3, AudioUnit and AAX compatible host applications
  • Compatible with Studio One 4.6 and higher. Prime only (included in Artist and Professional)
  • Use award-winning StudioLive processors and State Space models of vintage EQs and compressors in your DAW of choice
  • 5 processors in one plug-in: high-pass filter, noise gate/expander, compressor, EQ, limiter
  • 3 compressor models to choose from: StudioLive Standard plus State Space modelled Tube and FET modules
  • 3 EQ models to choose from: StudioLive Standard plus Passive and Vintage modules
  • Additional State Space modelled compressor and EQ modules are available with Fat Channel Add-ons
  • Each processor can be individually enabled/disabled
  • EQ and Compressor position can be switched
  • Easy installation, authorization, and updates from PreSonus Hub plug-in manager application

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Studio One (64-bit only)

Mac

  • macOS 10.13 or higher (64-bit only)
  • Intel Core i3 processor or better, or M1 processor running Rosetta 2

Windows

  • Windows 10 (64-bit only)
  • Intel CoreTM i3 / AMD A10 processor or better

Other Host Applications (64-bit only)

Mac

  • macOS 10.13 or higher (64-bit only)
  • Intel Core Duo processor (Intel Core Core i3 or better recommended)
  • VST3, AU, or AAX-compatible 64-bit host application
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366x768 resolution (high-dpi monitor recommended)

Windows

  • Windows 10 (64-bit only)
  • Intel Core Duo or AMD Athlon X2 processor (Intel Core 2 Duo or AMD X4 or better recommended)
  • VST3 or AAX-compatible 64-bit host application
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366x768 resolution (high-dpi monitor recommended)

OS Compatibility



6050 Ultimate Channel Strip HD

Channel Strip by McDSP



Images



Description


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.




Features

  • Over 25 EQ, compressor, gate, expander, saturator, and filter modules
  • Easy drag and drop, on the fly module auditioning
  • Side chain support
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions
  • New Modules

  • Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to taylor the ‘edge’ added by the S671 to a variety of applications.

  • If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

  • In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

  • The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

  • A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

  • Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

  • Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable signal chain filtering is included.

  • The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

HD v6 Software Supports

  • AAX DSP & AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

This is an HD/HDX plug-in that is intended for use with the DSPs of an Avid HDX system to prevent the software from taxing your host processor. There is no difference in sound quality between the Standard and HD/HDX versions. If you do not own an Avid HDX system, all you need is the Native version.

OS Compatibility



Analog Channel HD

Channel Strip by McDSP



Images



Description


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.




Features

  • Library of presets emulating analog mixing systems
  • Real-time display of saturation curves and calibrations
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

HD v6 Software Supports

  • AAX DSP & AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

This is an HD/HDX plug-in that is intended for use with the DSPs of an Avid HDX system to prevent the software from taxing your host processor. There is no difference in sound quality between the Standard and HD/HDX versions. If you do not own an Avid HDX system, all you need is the Native version.

OS Compatibility



Channel G Native

Channel Strip by McDSP



Images



Description


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.




Features

  • Multi-mode filters (high pass, low pass, notch) with selectable slopes of 6 to 24 dB/Oct
  • Full-featured Expander/Gate, Compressor/Limiter
  • Five-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

Native v6 Software Support:

  • AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

OS Compatibility



Goliath V2

Channel Strip by Tone Empire



Images



Description


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.




Features

  • Analog Processing:

  • This is an analogue processing chain featuring the famous British 1081 sound which has characteristics of its transformer made of Nickel, Iron, Steel.

  • This gives you a taste of that clean silky analogue processing.

  • The Tube chain is modelled using a modern/ classic valve processing chain with an AIR circuit. An immediately pleasing sound that will bring 2nd order harmonics to your material.

  • Here Tone Empire have used the ATR – 700 Tape Recorder at 15ips to capture that warmth and compression of Tape. Immediately hear your transients being “warmed” up and also get third-order harmonic saturation.

  • This one features an analogue mastering chain going to a Neumann vinyl cutting machine and multiple IRs sampled from the dubplate. Finally, get your record to sound like a “Record”!

  • More Features:

  • DRIVE Control: This controls lets you “drive” the analogue chain selected for its respective saturation characteristics. The levels remain the same, hence there will be no need to keep reaching for that output control. Go from a light touch of the analogue chain to full-on driven saturation by hitting the signal hard.
  • Env-EQ MIX: Use this control to dial back the amount of Envelope and EQ used by parallel mixing in the signal from the analogue chain before the Env-EQ sections. This acts as a kind of dry/wet control for the ENV-EQ.
  • OUTPUT Control: This lets you control the gain of the final output of the processing from -inf to +10 DB. It’s helpful when compressing a lot and you need a signal boost at the end, or for cutting back the levels.
  • Envelope Section:

  • ON/OFF Switch: Engage or bypass the Envelope Section.

  • The Envelope Section features an 1176 style FET compressor with controls for Threshold and fixed controls for Ratio, Attack Time & Release Time. The Attack, Release, and Ratios were carefully chosen to be applicable to a vast variety of materials. Drums to Pianos or Vocals, you can throw anything at this compressor and it will lightly control or aggressively grab the sound!

  • Threshold: Controls the threshold for the Envelope to kick into action.
  • Attack: Preprogrammed fixed Attack times going from Fast to Slow.
  • Release: Preprogrammed fixed Release times going from Fast to Slow.
  • Ratio: Fixed ratios ranging from 2:1 to “ALL Buttons In” (Smashing ratio).
  • EQ Section:

  • ON/OFF Switch:  Engage or bypass the EQ section. This Section features a 3 band Eq and a low cut filter.

  • Low Cut Filter: First Order Low Cut Filter ranging from 20Hz to 60Hz.
  • Low EQ:  A peak filter Eq set at 65 Hz for boosting or cutting the low frequencies by +/-10 DB.
  • Mid EQ:  A peak filter Eq set at 1.5KHz for boosting or cutting the mid frequencies by +/-10 DB.
  • High EQ:  A peak filter Eq set at 15 kHz for boosting or cutting the high frequencies by +/-10 DB.

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.13 or later (Intel / M1 macOS Big Sur supported) (64-bit only)
  • VST3, AU, or AAX (64-bit only)
  • Intel i3 / AMD Ryzen or equivalent
  • 2 GB RAM / 300 MB HD Required
  • Screen Resolution: 1024×768

Windows:

  • Windows 10 or later (64-bit only)
  • VST3 or AAX (64-bit only)
  • Intel i3 / AMD Ryzen or equivalent
  • 2 GB RAM / 300 MB HD
  • Screen Resolution: 1024×768

Important Note:

  • Some anti-virus software might alert while installing/downloading the files, kindly ignore those warnings. Those are False positives.
  • Tone Empire have tested their installers on Norton Anti-Virus and the files are clean. 

OS Compatibility



32C Channel

Channel Strip by Harrison Consoles



Images



Description


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.




Features

  • Fully cross format plugin that supports AAX, VST3, VST and AU.
  • Features the legendary Harrison 32C four-band parametric equalizer with proportional Q bell and shelving curves on the high and low bands, and musical overlapping midrange bands.
  • A High Pass and Low Pass filter section is included with a unique BUMP feature providing classic low end punch.
  • Harrison's innovative compressor with three different characters is also included. Selections for smooth compression, classic leveling, and fast limiting are provided.
  • The signal path through the 32C Channel Plugin can be arranged via the routing section, providing the optimum signal flow for your project.  You can quickly audition any processor, or combination of processors, in the chain.
  • Input and output level controls are provided along with a VU style output meter for critical level management throughout.

Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


 
  • Windows 7 or higher
  • Mac OS 10.9 or higher
  • Supported formats: AAX, VST, VST3, AU
  • 32-bit and 64-bit compatible

OS Compatibility



Channel G HD

Channel Strip by McDSP



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Description


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.




Features

  • Multi-mode filters (high pass, low pass, notch) with selectable slopes of 6 to 24 dB/Oct
  • Full-featured Expander/Gate, Compressor/Limiter
  • Five-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

HD v6 Software Supports

  • AAX DSP & AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

This is an HD/HDX plug-in that is intended for use with the DSPs of an Avid HDX system to prevent the software from taxing your host processor. There is no difference in sound quality between the Standard and HD/HDX versions. If you do not own an Avid HDX system, all you need is the Native version.

OS Compatibility



6060 Ultimate Module Collection Native

Channel Strip by McDSP



Images



Description


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.




Features

  • Largest collection of processing options of any module-based plug-in
  • Easy drag and drop, on the fly module auditioning
  • Split Mode operation for two separate parallel signal paths
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions
  • Based on a more ‘traditional’ English design, the British C-23 (BC-23 for short) module offers control for threshold, ratio, attack, and recovery. Internal circuit smarts help prevent unwanted distortion, even at extreme compression settings (low threshold, fast attack and release). As found in several of the compression modules in the 6060, there is also a feedback compression mode.

  • The Bass Optimized Bias module is designed for making low rumble really rumble. Over 24 dB of low end boost is available at the selected frequency. Signal levels below the selected frequency are actually reduced, so that the boosted low end is better focused. A Squash control can provide some frequency selective compression near the boosted low end frequency, at a selectable recovery rate. Two bias modes offer additional tone flexibility.

  • McDSP’s own FilterBank plug-in, originally released in 1998, harnessed the fundamental design characteristics of the Neve line of equalizers, most notably the 1069, 1073 and 1081, with its unique Peak, Slope, and Dip controls. The British E module uses this same FilterBank technology to create an amalgamation of great Neve equalizers. The classic hpf, low shelf, parametric, high shelf combination makes the British E module useful for most mixing situations.

  • The C671 module is a variation of a Fairchild 670, with slightly faster signal tracking to accommodate modern production styles, and yet still imparts a ‘warmth’ into the audio output. The McDSP C671 is sonically identical to the original C670 module from the 6030 Ultimate Compressor plug-in, but includes its own makeup gain, as do all the other 6060 compression modules. For this reason, all the compression module name enumerations are increased by ‘1’ to note the addition of the makeup gain in each module.

  • In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

  • The D359 module is the most aggressive compressor in the 6060 Ultimate Module Collection plug-in. An LED style GR meter is also used to show as much dynamic range control response as possible. Feedback (and feedforward) compression modes are offered, as is the (did we mention dangerous?) negative compression mode.

  • While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

  • While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

  • The E357 is a 3-band EQ meant to work in tandem with the D357 compressor. The slopes are steeper than most other EQ modules, and have a bit of character (like the D357). Use with caution.

  • A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

  • Fairchild made not only great compressor/limiters, they also put out a few program equalizers. The Fairchild 664, a two band EQ, served as the basis for the E670 design. Gentle low and high shelving EQ, complimented by a mid band parametric, give the E670 a smooth sound, but the three bands (each with its own gain and frequency control) provide flexibility expected in the modern studio. Suitable for subtle adjustments in any mixing situation.

  • This 6060 module draws from the UREI 545 parametric equalizer. The EQ’76 has four bands of paramtric equalization with a slight Q-gain dependency. The EQ’76 design is close to that of the E300/301 modules, but using a different set of frequency ranges and a more modern gain-dependent bandwidth design.

  • Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

  • The folks at dbx did not release any parametric equalizers to match their classic compressor product line. But if they did, here at McDSP we think it would have sounded like the EZ Q. Using a high pass filter to crave out the rumble, plus capable low and high shelfs, and a fairly flexible parametric, the EZ Q gets the job done.

  • What else can compliment a compressor nicknamed ‘The Frog’ (FRG444 from the 6030 Ultimate Compressor plug-in) than an equalizer with a name like FRG EEE (pronounced ‘froggy’). Two parametrics bounded by a high and low shelf pair, the FRG EEE is a capable equalizer, not unlike what is seen in modern channel strips in analog mixing consoles.

  • The FRG446 module, commonly referred to as ‘The Frog’ by McDSP engineering staff, uses an moderately aggressive compression design to quickly respond to audio input. As with other 6060 compression modules, feedback (and feedforward) compression modes are offered, as is the dangerous negative compression mode.

  • Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable side chain filtering is included.

  • Gate and Compressor are often combined, so why not put both into a single module? Lo the GC-1 is born!

  • Use the Gate section to remove room tone or unwanted background noise. There is up to 48 dB of rejection provided by the Range control, and an extra fast response characteristic can be enabled with the FAST button. There is also a preset hold time enable by the HOLD button.

  • The Comp section takes the output of the Gate and applies some dynamic range control. The compressor in the GC-1 is the only compressor that offers an Auto attack/release mode.

  • The GC-1 is great for a snare or kick that has too much room tone but also needs to be squashed and then turned up. The GC-1 is also suitable for vocals, and plenty of other acoustic instruments where you don’t really want to hear all of what has been recorded!

  • The iComp module is an all original McDSP design. Attack and release times are not available on this module, and are instead automatically updated based on user selected threshold and ratio control values.

  • The only two-band equalizer in the 6060 collection, the iQ is surprisingly adept at fine tuning mixes in any music genre. Tracks needing some low end ‘glow’ or high end ‘sheen’ can benefit from use of the iQ module.

  • The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.

  • The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

  • If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

  • All tube designs are known for a warm tone with tons of headroom. The Moo Q delivers these qualities and more in a three band package.

  • The Moo Tube module emulates an all tube design with a few unique twists. Mid range sensitivity has been modified by McDSP engineering, attack and recovery times are gentle yet usable for many applications, and the output frequency response is variable based on the amount of compression.

  • The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

  • The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

  • The Over EZ3 module incorporates a smooth knee response with a flexible control configuration including user selectable threshold, ratio, attack, and release. New additions in this module include the feedback compression mode, and the rare and ‘careful how you use it’ negative compression mode.

  • When the negative compression mode is enabled, the LOWEST compression ratio is infinity to 1. As the compression ratio control is increased, the actual compression ratio DECREASES (-100:1, -10:1, -2:1) towards a final compression value of -1 to 1. At this maximum setting, for every 1 dB of signal level increase, there is a 1 dB REDUCTION in output level. Any amount of negative compression causes pumping and breathing in output levels, and when used with fast attack and release times, creates plenty of signal distortion. Negative compression is a feature to be used carefully.

  • The PDQ module is a specialized EQ circuit that offers a boost (Peak) and cut (Dip) at a selected frequency. This Pultec-like operation has a sound all its own, and can take the user in another tone direction that a standard EQ would not. The ‘WIDE’ mode for each band will displace the boost (Peak) and cut (Dip) gains further from each other. Also note the default values for the PDQ gains is +/- 6 dB, implying they were intended to be working simultaneously. But by rotating the Peak or Dip knob fully to the left, their effect on the gain response of the EQ is minimized.

  • Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to tailor the ‘edge’ added by the S671 to a variety of applications.

  • Although the idea of artificial intelligence (AI) is relatively new, the use of an AI-based computer model to synthesize new algorithms has been around for a long time. The SHINE module uses such an AI based approach to approximate some McDSP engineered frequency curves.

  • The AI topology used in the SHINE module is derived from the transfer function of a transformer. But instead of simply trying to reproduce the incoming signal accurately at the output (ie transform it), McDSP engineering applied some tone bending savvy and came up with 2 modes and 2 lift curves per mode for some interesting high-shelf-like polish for incoming audio signals … aka ‘Shine’!!

  • The SOS (Same Old SSSSS) module is a finely tuned de-esser. The module name is also a nod to SOS Magazine reviewer Sam Inglis’ request for a de-esser. I guess SOS could also stand for “De-SSS for Sam?

  • The SOS module also offers a Low Cut mode to reduce plosives and other low-end noise common in vocal and dialog tracks. The SOS HF+ mode puts more de-essing sensitivity into frequencies approximately 1 octave above the selected de-essing frequency.

  • The SST’78 module is a solid-state circuit model with a McDSP designed key circuit. For the curious, SST does not stand for Super Sonic Transport. The SST’78 features feedforward and feedback compression modes, as well as a negative compression mode. Because the SST’78 is capable of very fast attack and release times, caution is advised when engaging its negative compression circuit.

  • The TAPE module builds on the famous (or infamous?) McDSP Analog Channel AC202 module, but with a new design for emulating tape compression and playback response. Tape head bump and roll off are user selectable, as is the repro-head type (Modern or Vintage). Tape formulations are based on the Quantegy GP9 and Ampex 456. Tape compression is largely controlled by signal level going into the TAPE module input, however there is also user selectable tape compression via the ‘Comp’ control. Overall tape compression amount is displayed in dB.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

Native v6 Software Support:

  • AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

OS Compatibility



FilkChannel Strip

Channel Strip by Kiive Audio



Images



Description


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).




Features

  • Saturation Preamp
  • 3 Band EQ with LP and HP Filters
  • OPTO Compressor with adjustable ratio
  • Swap-able FX Chain
  • Resizable GUI
  • Oversampling

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


macOS

  • OS X 10.7 or higher (macOS 10.13 or higher recommended)
  • Processor: 1 GHz Intel Dual Core or higher
  • Screen resolution: 1024 x 768 or higher
  • Formats: VST, AU, AAX
  • 64-bit DAW support only

Windows

  • Windows 7 and above
  • Processor: 1 GHz Intel Dual Core Processor or AMD equivalent
  • Screen resolution: 1024 x 768 or higher
  • Formats: VST, AAX
  • 64-bit DAW support only

OS Compatibility



Neutron 3 Elements

Channel Strip by iZotope



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Description


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. 




Features

  • 4 modern tools for great mixes: Compressor, Exciter, Transient Shaper, and EQ—now with Soft Saturation mode. 
  • Track Assistant listens to your audio and creates a custom preset for you based on what it hears.  
  • EQ with intellect: EQ Learn auto-detects frequencies that need your attention. 
  • Beautiful, smooth visualizations and a resizable interface invite you to step in and take control.

Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Operating Systems:

  • Mac: OS X 10.11.6 El Capitan – macOS 10.15 Catalina (64-bit only)
  • PC:  Win 7 64-bit (Latest Service Pack) – Win 10 (64-bit only)

Plugin Formats:

  • AAX (64–bit), AU, VST2, VST3
  • All formats are 64-bit only.

Supported Hosts:

  • Logic Pro X, Pro Tools 12 – 2019, Ableton Live 9–10.1, FL Studio 20, Reaper 5, Cubase 10, Studio One 4, Adobe Audition CC 2019, Adobe Premiere Pro CC 2019, Digital Performer 10, Nuendo 10, Reason 10.

OS Compatibility



6060 Ultimate Module Collection HD

Channel Strip by McDSP



Images



Description


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.




Features

  • Largest collection of processing options of any module-based plug-in
  • Easy drag and drop, on the fly module auditioning
  • Split Mode operation for two separate parallel signal paths
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions
  • Based on a more ‘traditional’ English design, the British C-23 (BC-23 for short) module offers control for threshold, ratio, attack, and recovery. Internal circuit smarts help prevent unwanted distortion, even at extreme compression settings (low threshold, fast attack and release). As found in several of the compression modules in the 6060, there is also a feedback compression mode.

  • The Bass Optimized Bias module is designed for making low rumble really rumble. Over 24 dB of low end boost is available at the selected frequency. Signal levels below the selected frequency are actually reduced, so that the boosted low end is better focused. A Squash control can provide some frequency selective compression near the boosted low end frequency, at a selectable recovery rate. Two bias modes offer additional tone flexibility.

  • McDSP’s own FilterBank plug-in, originally released in 1998, harnessed the fundamental design characteristics of the Neve line of equalizers, most notably the 1069, 1073 and 1081, with its unique Peak, Slope, and Dip controls. The British E module uses this same FilterBank technology to create an amalgamation of great Neve equalizers. The classic hpf, low shelf, parametric, high shelf combination makes the British E module useful for most mixing situations.

  • The C671 module is a variation of a Fairchild 670, with slightly faster signal tracking to accommodate modern production styles, and yet still imparts a ‘warmth’ into the audio output. The McDSP C671 is sonically identical to the original C670 module from the 6030 Ultimate Compressor plug-in, but includes its own makeup gain, as do all the other 6060 compression modules. For this reason, all the compression module name enumerations are increased by ‘1’ to note the addition of the makeup gain in each module.

  • In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

  • The D359 module is the most aggressive compressor in the 6060 Ultimate Module Collection plug-in. An LED style GR meter is also used to show as much dynamic range control response as possible. Feedback (and feedforward) compression modes are offered, as is the (did we mention dangerous?) negative compression mode.

  • While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

  • While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

  • The E357 is a 3-band EQ meant to work in tandem with the D357 compressor. The slopes are steeper than most other EQ modules, and have a bit of character (like the D357). Use with caution.

  • A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

  • Fairchild made not only great compressor/limiters, they also put out a few program equalizers. The Fairchild 664, a two band EQ, served as the basis for the E670 design. Gentle low and high shelving EQ, complimented by a mid band parametric, give the E670 a smooth sound, but the three bands (each with its own gain and frequency control) provide flexibility expected in the modern studio. Suitable for subtle adjustments in any mixing situation.

  • This 6060 module draws from the UREI 545 parametric equalizer. The EQ’76 has four bands of paramtric equalization with a slight Q-gain dependency. The EQ’76 design is close to that of the E300/301 modules, but using a different set of frequency ranges and a more modern gain-dependent bandwidth design.

  • Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

  • The folks at dbx did not release any parametric equalizers to match their classic compressor product line. But if they did, here at McDSP we think it would have sounded like the EZ Q. Using a high pass filter to crave out the rumble, plus capable low and high shelfs, and a fairly flexible parametric, the EZ Q gets the job done.

  • What else can compliment a compressor nicknamed ‘The Frog’ (FRG444 from the 6030 Ultimate Compressor plug-in) than an equalizer with a name like FRG EEE (pronounced ‘froggy’). Two parametrics bounded by a high and low shelf pair, the FRG EEE is a capable equalizer, not unlike what is seen in modern channel strips in analog mixing consoles.

  • The FRG446 module, commonly referred to as ‘The Frog’ by McDSP engineering staff, uses an moderately aggressive compression design to quickly respond to audio input. As with other 6060 compression modules, feedback (and feedforward) compression modes are offered, as is the dangerous negative compression mode.

  • Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable side chain filtering is included.

  • Gate and Compressor are often combined, so why not put both into a single module? Lo the GC-1 is born!

  • Use the Gate section to remove room tone or unwanted background noise. There is up to 48 dB of rejection provided by the Range control, and an extra fast response characteristic can be enabled with the FAST button. There is also a preset hold time enable by the HOLD button.

  • The Comp section takes the output of the Gate and applies some dynamic range control. The compressor in the GC-1 is the only compressor that offers an Auto attack/release mode.

  • The GC-1 is great for a snare or kick that has too much room tone but also needs to be squashed and then turned up. The GC-1 is also suitable for vocals, and plenty of other acoustic instruments where you don’t really want to hear all of what has been recorded!

  • The iComp module is an all original McDSP design. Attack and release times are not available on this module, and are instead automatically updated based on user selected threshold and ratio control values.

  • The only two-band equalizer in the 6060 collection, the iQ is surprisingly adept at fine tuning mixes in any music genre. Tracks needing some low end ‘glow’ or high end ‘sheen’ can benefit from use of the iQ module.

  • The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.

  • The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

  • If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

  • All tube designs are known for a warm tone with tons of headroom. The Moo Q delivers these qualities and more in a three band package.

  • The Moo Tube module emulates an all tube design with a few unique twists. Mid range sensitivity has been modified by McDSP engineering, attack and recovery times are gentle yet usable for many applications, and the output frequency response is variable based on the amount of compression.

  • The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

  • The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

  • The Over EZ3 module incorporates a smooth knee response with a flexible control configuration including user selectable threshold, ratio, attack, and release. New additions in this module include the feedback compression mode, and the rare and ‘careful how you use it’ negative compression mode.

  • When the negative compression mode is enabled, the LOWEST compression ratio is infinity to 1. As the compression ratio control is increased, the actual compression ratio DECREASES (-100:1, -10:1, -2:1) towards a final compression value of -1 to 1. At this maximum setting, for every 1 dB of signal level increase, there is a 1 dB REDUCTION in output level. Any amount of negative compression causes pumping and breathing in output levels, and when used with fast attack and release times, creates plenty of signal distortion. Negative compression is a feature to be used carefully.

  • The PDQ module is a specialized EQ circuit that offers a boost (Peak) and cut (Dip) at a selected frequency. This Pultec-like operation has a sound all its own, and can take the user in another tone direction that a standard EQ would not. The ‘WIDE’ mode for each band will displace the boost (Peak) and cut (Dip) gains further from each other. Also note the default values for the PDQ gains is +/- 6 dB, implying they were intended to be working simultaneously. But by rotating the Peak or Dip knob fully to the left, their effect on the gain response of the EQ is minimized.

  • Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to tailor the ‘edge’ added by the S671 to a variety of applications.

  • Although the idea of artificial intelligence (AI) is relatively new, the use of an AI-based computer model to synthesize new algorithms has been around for a long time. The SHINE module uses such an AI based approach to approximate some McDSP engineered frequency curves.

  • The AI topology used in the SHINE module is derived from the transfer function of a transformer. But instead of simply trying to reproduce the incoming signal accurately at the output (ie transform it), McDSP engineering applied some tone bending savvy and came up with 2 modes and 2 lift curves per mode for some interesting high-shelf-like polish for incoming audio signals … aka ‘Shine’!!

  • The SOS (Same Old SSSSS) module is a finely tuned de-esser. The module name is also a nod to SOS Magazine reviewer Sam Inglis’ request for a de-esser. I guess SOS could also stand for “De-SSS for Sam?

  • The SOS module also offers a Low Cut mode to reduce plosives and other low-end noise common in vocal and dialog tracks. The SOS HF+ mode puts more de-essing sensitivity into frequencies approximately 1 octave above the selected de-essing frequency.

  • The SST’78 module is a solid-state circuit model with a McDSP designed key circuit. For the curious, SST does not stand for Super Sonic Transport. The SST’78 features feedforward and feedback compression modes, as well as a negative compression mode. Because the SST’78 is capable of very fast attack and release times, caution is advised when engaging its negative compression circuit.

  • The TAPE module builds on the famous (or infamous?) McDSP Analog Channel AC202 module, but with a new design for emulating tape compression and playback response. Tape head bump and roll off are user selectable, as is the repro-head type (Modern or Vintage). Tape formulations are based on the Quantegy GP9 and Ampex 456. Tape compression is largely controlled by signal level going into the TAPE module input, however there is also user selectable tape compression via the ‘Comp’ control. Overall tape compression amount is displayed in dB.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac:

  • macOS 10.10 or higher (64-bit only) (macOS 11 Big Sur compatible)

Windows:

  • Windows 7, 8 & 10 (64-bit only)

HD v6 Software Supports

  • AAX DSP & AAX Native
  • Audio Units (AU)
  • Audio Suite
  • VST3

Platform Requirements:

  • AAX versions require Pro Tools 12.x or higher and also support Pro Tools 2018, 2019, and 2020.
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok Cloud to authorize the installers. Latest iLok drives are recommended. Cloud support requires v6.5 or higher

Compatible DAW's

McDSP HD and Native plug-ins are compatible with Pro Tools, Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer, Studio One, Sonar, and other DAWs that support AAX, AU, VST and/or VST3 plug-in formats.

Activation:

  •  Active internet connection required OR physical iLok USB Dongle required.

Important note: McDSP plug-ins require either a physical iLok2 or iLok3 USB Dongle or an iLok License Manager account and an iLok Cloud session for authorization.

This is an HD/HDX plug-in that is intended for use with the DSPs of an Avid HDX system to prevent the software from taxing your host processor. There is no difference in sound quality between the Standard and HD/HDX versions. If you do not own an Avid HDX system, all you need is the Native version.

OS Compatibility



Neutron 3 Advanced

Channel Strip by iZotope



Images



Description


The Modern Way to Mix

The following Upgrades & Crossgrades are also available:

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.




Features

  • New Interactive Visuals

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

  • Communicate Across your Session

  • Use the included Visual Mixer plug-in to adjust the gain, pan, and width of any Neutron or Relay in your session. In Neutron 3 Advanced, you can use the Mix Assistant button and get to a great starting point even faster.

  • EQ with Masking Meter

  • With a convenient one-window display and smoother metering, Masking Meter is now even better at helping you find and fix competing elements of your mix to create space for your instruments.

  • Improved Performance

  • Neutron on More Tracks: Sessions with Neutron 3 load up to 3X faster than Neutron 2, so you can
  • transform your mix with premium processing anywhere and everywhere. 
  • MUCH faster processing: Sessions with Neutron 3 use up to half the memory of Neutron 2. Forget about messing with settings and bouncing in large sessions.
  • Lower buffer size: Neutron 3 sessions use up to a third of the CPU of Neutron 2 at the lowest buffer sizes. Create on the fly at lower buffer sizes without slowdowns or dropouts.
  • Neutron 3 Modules

  • Remove resonance and add excitement to your tracks with the ultimate hands-off audio tool.

  • Transient Shaper

  • Change the contour of your sound and control attack and release with this mixing secret weapon.

  • Add modern character or warm, vintage grit with our Exciter module.

  • Add impact and energy to your audio with our flexible multiband gate.

  • Fit your tracks perfectly in the mix with our swiss-army-knife compressor.

  • Auto-detect frequencies and remove masking with our intelligent EQ.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Operating Systems:

  • Mac: macOS High Sierra (10.13.6) - macOS Big Sur (11.6.x)*
  • PC:  Windows 10 (64-bit only)

* Supported on Intel-based Macs or Apple Silicon ARM-based Macs in Rosetta only.

Plugin Formats:

  • AAX (64–bit), AU, VST2, VST3
  • All formats are 64-bit only.

Supported Hosts:

  • Logic Pro, Ableton Live 10 - 11, Pro Tools 2021, Cubase 10.5  -11, FL Studio 20, Studio One 5, REAPER 6, Bitwig Studio 3, Adobe Audition CC, Premiere Pro CC, Nuendo 11, Reason 11, Digital Performer 10.

OS Compatibility



UniChannel

Channel Strip by United Plugins



Images



Description


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.



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac

  • macOS 10.10 and later (M1 Silicon Mac and macOS 11 Big Sur supported) (64-bit only)
  • Intel/AMD processor with SSE2 support.
  • VST2, VST3, AAX or AU compatible host.

Windows

  • Windows 8 - 10 (32 or 64-bit)
  • Intel/AMD processor with SSE2 support.
  • VST2, VST3 or AAX compatible host.

OS Compatibility



AVA Drum Flow

Channel Strip by Harrison Consoles



Images



Description


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.



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.7 or newer required (macOS 10.10 or newer suggested)
  • Windows 7 or newer required

Plugin Specifications

  • Supported Formats -  AAX, VST, VST3, AU

Host DAW Support:

  • ProTools 10.3.5 or newer required (enable AAX format during installation)
  • Logic (enable the AU format during installation)
  • Cubase (enable the VST and/or VST3 format during installation)
  • Most other DAW's (enable the VST format during installation)

OS Compatibility



AVA Bass Flow

Channel Strip by Harrison Consoles



Images



Description


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.



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.7 or newer required (macOS 10.10 or newer suggested)
  • Windows 7 or newer required

Plugin Specifications

  • Supported Formats -  AAX, VST, VST3, AU
  • Supported Channel Configurations - MONO only

Note: This plugin uses lookahead and should not be used for processing signals in real-time.

Host DAW Support:

  • ProTools 10.3.5 or newer required (enable AAX format during installation)
  • Logic (enable the AU format during installation)
  • Cubase (enable the VST and/or VST3 format during installation)
  • Most other DAW's (enable the VST format during installation)

OS Compatibility