Extremely Tight Drum Recordings & Percussion Loops in a Matter of a Few Clicks

Many modern music genres rely on groovy and danceable sounding drums and percussion. But because many drum and percussion loops come pre-mixed with different elements combined in a single track, it can be very difficult to make them work in a busy mix. 

We designed Percolate to help you separate and target the snare, hi-hat and percussion parts of such loops, providing you with an easy and fast workflow to create a balanced drum or percussion mix.

Percolate uses analog modelled filters that separate the relevant frequency ranges in a very transparent way, and can be used in combination with our KickBox plug-in to target the whole drum or percussion section in your mix.

Features:

• Fast and intuitive workflow
• Analog modeled filters
• Suited for electronic and acoustic drums and percussion
• Extremely light on CPU and RAM

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

The Pro EQ is a high end analogue processor designed for the most demanding producers and mastering engineers. Modelled on gorgeous EQ's from the likes of SSL and Neve the Pro EQ is now used in a large number of high end studios

Features:

• Analogue Modelled EQ Processor
• LF/LMF/HMF/HF
• High and Low Pass Filters
• 29 Presets for all kinds of instruments and scenarios
• Professional GUI Design
• Very low CPU usage

The kick drum is the backbone of many modern music genres, both electronic and acoustic. It’s Often times the thing you start with in a new mix, but to get it sounding just right can be a complex task.

A well mixed kick drum has a warm sounding low end, doesn’t sound too boxy and pierces through the mix in a very natural way. When designing KickBox, these are the qualities we’ve focused on, simplifying the mixing process for any modern kick drum.

The KickBox is modelled after analogue filters and separates the relevant frequency ranges in a very transparent way. KickBox can help you get your kicks sounding extremely tight in a matter of just a few clicks.

How to Use

KickBox can be used directly on both mono and stereo tracks. For most electronic kicks it is best used first or early in your mixing chain. For live recorded acoustic kicks however, it can be beneficial to use a shelving equaliser to achieve a general frequency balance before applying KickBox.

Equaliser

The EQ section of the KickBox has been stepped to target the most common areas of the frequency spectrum, allowing you to achieve precise balanced adjustments in a matter of a few clicks.

Each band has a frequency and db control and can be operated with simple click. The allows you to run through the values without looking at the plugin, so you can trust your ears and not your eyes.

The Q values allow you to zone in on the area you have selected. Value 1 represents the widest band width, with value 4 being the tightest notch.

Compressor

The compressor has been designed with a completely unique algorithm that has been designed to get your kick drums sounding punchy and clear.

The controls are the same Ratio, Threshold, Attack, Release and Make Up that are found on most compressors, so the workflow remains familiar to the user.

Limiter

Our new compressor algorithm allows users to drive their kicks like never before, with- out the fear of clipping. During testing, we achieved an RMS level of -5.8 without any distortion artefacts at all.

The limiter has no user editable controls, and will react in the best possible way to the signal being fed into it, so you can spend more time on the compression parameters, until the desired punch and thump is achieved.

Presets

Whilst the source material selected is the key to the results you can achieve, with KickBox we have created a small number of presets that can be found in the system presets dropdown.

To the right, you can see where the presets can be found within the system menu in Logic Pro X.

Alternative Applications

We designed the KickBox for kick drum processing, but as there are no rules in music, we decided to experiment with other source materials and discovered it also has many other interesting uses when used on other low end instruments like bass guitar, toms and other types of percussion. Why not experiment a little yourself.

Features:

• Fast and intuitive workflow.
• Analog modeled filters.
• Suited for electronic and acoustic kick drums.
• Extremely light on CPU and RAM.

Getting a balanced mix is key to achieving a great master that reproduces well across multiple playback systems. In the past, artists and labels would select mastering studio’s based on the engineer and the equipment they used. This was largely due to specific hardware’s ability to add a certain character to a mix. 

Since the explosion of software-based mastering, you would think that these hardware units would be redundant. This however couldn’t be further from the truth, with labels and artists alike, seeking that warm & clear character that boutique EQ’s provide. 

At SoundSpot® they recognised that many software EQ’s are solely focused on being as transparent as possible and while transparency is certainly a virtue in some cases, they felt that the sparkle and unique character that boutique hardware adds was not being delivered in the software realm. 

With this in mind, SoundSpot set out to build a plugin with its own personal character that will truly give a hardware flavour to software mastering.​

The Interface

The Overtone interface has been designed to give the feel of an analogue EQ, which may seem slightly alien to those of you not familiar with using hardware. It may even seem a little old fashioned, but SoundSpot can tell you that sound is not the only reason that studios insist on using these units. 

When you are deprived of visual information, you are forced to trust your ears and make decisions based on what sounds good, and not what looks like the EQ curves you’ve seen on YouTube tutorials. As a result, you’ll get a better mix with less second-guessing.

Saturation

There is a theme with many software EQ’s to sound as transparent as possible, and whilst transparency is indeed a virtue, SoundSpot felt that the digital age has brought too many neutral-sounding plugins that differ based on functions and not the character of the sound. In the past, hardware EQ’s were selected for the unique character that they would bring to a mix, and so SoundSpot set out to create a software EQ with its very own flavour.

This character is achieved by adding a saturation effect only to the boosted signal, which adds pleasant harmonics, creating a sense of warmth and clarity.

SoundSpot does however appreciate there is a need for transparent equalisation, so they designed the plugin to be volume independent when at neutral settings, and volume-dependent when boosted. What this means is the unit will remain transparent for cuts and add saturation to boosts.

SoundSpot realised that some users will want to boost without the saturation, so they designed the plugin to react based on the input signal. If you feed a lower signal into the Overtone, the saturation will not kick in. Conversely, the more you drive the input, the more dramatic the saturation giving you the best of both worlds in one unit.

Solo - Stereo & Mid/Side

The Overtone has two settings you’ll all be familiar with, Stereo and Mid/Side mode. This allows you to get the overall mix balanced first, then switch into Mid/Side to create a more open stereo image. Combine this with the solo buttons allowing you to independently process the mid or side without hearing the other, and you’ve got some seriously accurate equalisation possibilities.

Notched Frequencies

When SoundSpot set out creating the Overtone, they wanted to mimic the notched frequency ranges found within boutique hardware mastering equalisers. These frequencies have been tried and tested to be both versatile and deliver fantastic results. 

Whilst SoundSpot used these frequencies as a starting point, they felt the ranges could be improved and after extensive research, SoundSpot found a frequency range with very specific crossover points that were more harmonically pleasing and had a greater musical feel than the hardware counterpart. 

Intelligent Channel Linking

Many EQ’s will make a direct copy from left to right when the channel link button is pressed. When linking is set up in this way, it provides a very rigid user experience, with users often finding they lose the settings they wanted to keep. Our intelligent linking system makes linked editing much more flexible and intuitive for the user, by allowing you to individually select control on either side of the plugin, which is then mirrored on the opposite side.

AVA Mastering EQ

What is the AVA Mastering EQ?

The AVA Mastering EQ is explicitly designed for the task of mastering your mixes. When 2 adjacent bands of the AVA-MtE are adjusted, the resultant curve is “flat” across the band edges, rather than discrete humps and valleys. The resulting curves are perfectly suited for the broad, musical changes needed for final tone-control while retaining the harmonic balance between the elements of your mix. Managing a powerful full-range EQ has never been so fast and easy. The results are quintessentially “Harrison”:  effortless, smooth and transparent.

Controls

The AVA-ME has 31 control bands ranging from 20hz to 20kHz and increasing by ⅓ octave increments. By default, the scale shows +/-4dB, but if you increase a band beyond 4dB, the scale will increase to show the changes up to +/-14 dB.

Effortless Mouse Control

The AVA-ME is most easily controlled by clicking and dragging the mouse across the frequency spectrum. You can also point your mouse at a control band or the output trim and increase the gain by dragging up/down or by using the scroll function on your mouse or touchpad. You can right-click and drag to reset bands to zero and hold shift while dragging the mouse to smooth any unwanted bumps between adjacent curves. (These options are indicated in the bottom-right corner of the plugin window).  All controls have a “fine” mode which can be accessed by holding Control or Command while adjusting the control.

Zoom: Auto or Manual

By default, AVA-ME  shows a +/-4dB scale. If you increase a band beyond this value, the scaling will automatically increase to accommodate your moves.
You can also click and drag the left or right dB scale to manually adjust the displayed scale.

If you manually set the scale, then a “lock” icon will appear at the lower-left corner of the EQ display.  Click the “lock” icon to disengage the manual lock, and allow the AVA-ME to automatically set the scaling for you.

Output Trim - The “Trim” control adjusts the output level.  Double-click the control to reset it to 0dB.

Filters

The AVA-ME has high-pass and low-pass filters with a gentle slope.  The slope is selectable between 6dB/Oct and 12dB/Oct, and the frequency can be adjusted using the sliders above and below the curve.

Additional Features

• The “Ear” icon engages the momentary-bypass function, which allows you to audition the un-affected signal while you hold the mouse button; then restores the settings when you release the button.
• The “Gear” icon launches a menu with additional features including resizing, theme selection, and plugin version number.
• The alternative “Vintage” theme uses the colour scheme of Harrison’s large-format console software.

Tilting EQ

Things Flip EQ is an easy to use tilt EQ plugin with mid/side mode. Turn the main knob to the right, and you get more highs and less lows; turn it to the left, and lows are boosted while highs are attenuated. You can choose the cutoff frequency of the EQ with the Cutoff control, or increase the gain of the EQ with the Boost button.

Things Flip EQ can also be applied to either the mid or side of a stereo signal to further enhance the stereo depth.

Mid/Side

What is Mid / Side?

In a stereo signal, the Mid channel is considered the centre and contains both Left and Right channels. Boosting the Mid channel results in a more mono sound.

The Side channel instead contains the difference between the Left and Right channels. Boosting the Side channel results in a more spacious or wider sound.

Mid / Side Mode

When the Mid and Side mode button is engaged, the granular effect is applied only to the Side part of the input signal. The Mid is instead attenuated, creating a special stereo width effect. The reverb is always applied on both Mid and Side parts.

SplineEQ is a linear phase equalizer plugin. Designed to be simple and flexible, SplineEQ allows you to create filters using Bézier splines, the best-known way to design curves.

Pivot is a tilt equaliser, with adjustable slope and mid/side modes. Powerful EQ, made simple.

Bright, Clean & Crystal Clear

Following up the release of their powerful saturation EQ Fatmaker, Singomakers are back with a brand-new precision equalizer, Crystal EQ. Designed for creating clean and bright mixes & masters, the Crystal EQ is a one-stop EQ for cleaning up your drums, vocals and instruments to get them sitting perfectly in the mix.

Vintage Vibe with Modern Precision

Crystal EQ features four adjustable frequency bands for precise equalization, as well as a high-pass and low-pass filter for additional EQ control. Add low end punch to your drums, top end clarity to your vocals or create complex automated filter FX in just a few quick sweeps.

The vintage interface of Crystal EQ gives that classic feel of a vintage outboard EQ, whilst delivering the precision and control of the digital domain, making it a delicate and precise tool for mixing and mastering.

Versatile & Full of Character

Crystal EQ is designed to instantly deliver clean and transparent EQ to your tracks, featuring simplicity and versatility that makes it the perfect choice for all the common elements in your mix. Crystal EQ is split into the following bands:

• High-Pass Filter
• Low Frequencies
• Low-Mid Frequencies
• High-Mid Frequencies
• High Frequencies
• Low-Pass Filter

Crystal EQ also comes with a collection of both live and electronic instrument presets – choose from the expertly crafted selections to get your bass, piano, synths, guitars & drums sounding crystal clear and full of life.

Helper Equalizer 2 is also available in the Helper Series 2 Bundle.

Helper Equalizer 2 is a unique and versatile equalizer plug-in that contains special features with excellent workflow and a simple-to-use user interface. Unlike any other equalizer plug-in, you’ll get to play with 5 different EQ shapes to shape your sound better.

You have only 3 knobs to play with in this plug-in but do not be fooled by its simplicity. With the frequency knob, you can determine which frequency to be affected by the equalizer itself. With the gain knob, the volume of the sound can be increased or decreased to bring out the muddiness or to give some air to the sound. With the quality knob, you can adjust the filter slope to effectively equalize your sound. Although the gain knob and quality knob are not available in certain filter modules, they are still vital to proper audio equalizing.

You can also choose to effect different types of audio signal from the audio source – Stereo, Mid, Side, Left & Right. Imagine what all this unique feature offers you.

With the input and output gain control, proper gain staging can be done before and after the saturation process.

The smooth character of this compressor allows you to create transparent or extreme color changes to your audio, making it a workhorse for just about any application.

The 1960s-vintage EQ provides consistent, repeatable equalization using three overlapping bands, divided into seven fixed frequency points, each with five steps of boost or cut. Its selectable peaking or shelving filters for the high and low band, along with an independently insertable bandpass filter, provide an easy path to creating acoustically superior equalization.

With its distinct filter shaping, sheen, and bite, this three-band active EQ includes both high and low shelving filters, providing enhanced tone-shaping possibilities.

The sound of classic British EQ is absolutely legendary and has enhanced many a great recording. Emulating this classic British design, the Solar 69 EQ adds definition to kick drums, shapes electric guitars, and adds shimmer to acoustic guitars and vocals without sacrificing body.

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

The 4020 Retro EQ is a four-band EQ and complimentary filter set. The HF and LF bands are shelving EQ, with two additional parametric EQs at the HMF and LMF bands. All EQ bands operate on a unique gain dependent variable slope/Q system for a vintage smooth sound and increased boost/cut frequency selectivity high gains. The HPF and LPF filters use a unique split-octave design giving a 12 dB/Oct slope near the selected frequency, and a maximum slope of 24 dB/Oct.

All Retro plug-ins use a McDSP designed output stage topology to eliminate digital clipping at any output level and produce a smoother distortion characteristic. This feature is in addition to the analog saturation modeling that has made McDSP famous over the last decade.

Retro plug-ins are a line of ‘classics’ that can live up to their own name without emulating something else.

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

The 6020 Ultimate EQ is a collection of ten equalizer models using the popular module format leveraging McDSP’s 15+ years of design experience.

All 6020 Ultimate EQ modules are designed by McDSP, drawing on inspiration from classic and modern equalizers over the last four decades. Each module is easy to operate, and yet has enough sophistication for the most discerning professional.
Whatever your style, from smooth tube emulations to aggressive solid-state designs, the 6020 Ultimate EQ has a custom-made equalizer module that is just right for you.

The Tube EQ is based on a passive, all-tube design for ultra-smooth and musical equalization, making it ideal for any midrange source material.

This EQ offers the world's most popular EQ curve. Using gently sweeping treble and bass EQ shelves, it allows you to make subtle, yet effective, changes over wide swaths of the frequency spectrum.

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

Minimal System Group is pleased to introduce the new Analogue Mixing and Mastering Collection. Comprising of a comprehensive analogue modelled channel strip and 8 band EQ this collection contains two powerful tools that can be used on your channel and master busses to aid you with both mixing and mastering.

Features:

• Two plugins included - Analogue Channel Strip and Analogue EQ
• Channel Strip comprises of an 8 band customisable EQ, Buss Compressor, Limiter, and Master section
• Analogue EQ is an 8 band customisable EQ with Master section
• EQ frequency range - 20hz to 20,000hz on each band
• Each EQ band has +/-40dB of gain
• Buss Compressor designed to 'Glue' track groups together. Can also be used effectively to 'Glue' the final mixdown
• Signal flow of the Analogue Channel is as follows: EQ > Compressor > Limiter
• Monitoring meters on both plugins showing input, output, and compression gain reduction
• Analogue channel is perfect for buss channels or the master channel and can be used effectively for both mixing and mastering
• Modelled on analogue hardware
• Professional GUI design
• Low CPU usage

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

The AE400 is an advanced active equalizer suitable for music production, post-production, and live sound.

The AE400 is made up of 4 bands of fixed and active equalization. Each band is completely overlapping with all other bands and has its own Q (bandwidth), fixed gain, and active gain controls. A key filter for each band allows the active gain response to be as selective or broad as needed, based on the Q (bandwidth) control. Each band can use the input signal or selected side chain signal to trigger the active EQ response.

The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot. The AE400’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE400.

Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE400.