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.


Weiss Complete Collection

Channel Strip by Softube



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Description


Important Note: This is the full version of the Weiss Complete Collection. The following upgrades are also available:

High-end Mastering, Scaled-Down Price

  • Value: This choice collection of plug-ins gives you indispensable, high-end Weiss mastering at a fraction of the price when purchased separately​.
  • Authenticity: The included plug-ins have been developed in close collaboration with, and are authorized by, Weiss Engineering and Daniel Weiss​.
  • Options: A curated collection of six crucial plug-ins—DS1-MK3, MM-1, Compressor/Limiter, Deess, EQ1, and Gambit Series channel strip for Console 1​.

Weiss. It’s the name in audio mastering. Synonymous with sound quality, the value of the Weiss Engineering suite of mastering tools is undeniable. But with premium instruments come premium price tags. This hand-picked bundle allows you to own the gold-standard in mastering gear for pennies on the list price.

Take your work to a calibre heard, or rather unheard, on virtually every major record of the past two decades. Created in collaboration with Weiss Engineering, these exactingly modelled plug-ins bring unsurpassed mastering excellence into the DAW-based studio. Compression, limiting, de-essing, mix maximizing, equalizing; get all the essential mastering elements at an exceptional value.

Softube & Weiss: Meeting of the Minds

Weiss has been a pioneer in digital audio equipment design since 1979. That’s when Weiss founder, Daniel Weiss, joined Willi Studer AG in Switzerland as an engineer. In 1985, Weiss struck out on his own and founded Weiss Engineering with a focus on pioneering digital audio equipment for Mastering Studios. The result of that endeavour is now legend.

Softube’s relationship with Weiss started in 2008 when they were first introduced to Daniel Weiss. Despite having so many guiding principles in common, it wasn’t until 2015 that Softube got serious about working together. Three years—and some blood, sweat, and tears—later, the Softube + Weiss DS1-MK3 plug-in was unveiled to great fanfare. And the tradition continues.

Weiss EQ1

A 1:1 Code Port of the Weiss EQ with No Equal

  • A line-by-line code port boasting 1:1 accuracy of the pioneering original hardware, known as the standard of digital mastering EQs​.
  • Increased functionality of the original algorithms, plus 32-bit / 192 kHz operation and updated ergonomics.
  • Easy manual recall of Presets that sound and behave exactly like they do in the hardware​.

The Original and Still the Best

The original Weiss EQ1 is the stick by which all digital mastering EQs are measured. EQ1 boasts seven identical parametric bands that cover the entire audio frequency range and have an incredible Q-parameter range of 0.2 to 650. Each EQ band has Boost/Cut, Frequency, and Q/Slope knobs and operate in any of the following modes: High-shelving, Low-shelving, Peaking, High-cut, Low-cut, and Bypass. High auditory quality and functional design made the EQ1 a bestseller in 1996 and solidified its status as the top digital mastering EQ in the field going forward.




Features

  • The best-sounding de-esser available, with code-ported algorithms from the industry-standard DS1-MK3.
  • Two bands of de-essing. This is the only de-esser you’ll need.
  • Stunning and intuitive visualisations make this de-esser a breeze to use.
  • Clean tweak-and-go faceplate, with immensely detailed controls hidden in side-menu.
  • Ultra-professional tool, but without the daunting, complex look.
  • Low-latency mode allows you to de-ess while tracking a vocal.
  • All the versatility you need in terms of filter shapes, frequencies etc.
  • Learn more about Weiss Deess.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



Softube Chandler Limited® Zener-Bender

Channel Strip by Softube



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Description


Vintage sound, modern combo.

A powerful and musical modern plug-in channel strip with the unique vintage sound of Chandler Limited®, the Zener-Bender combines the crisp and colourful character of the Curve Bender Mastering Equalizer with the big, punchy Zener Limiter to bring class, history, and most crucially of all, a phenomenal sonic impact. Component-modelled with Softube’s customary care and experience, these units together can take charge of any mix.

A Powerful Channel Strip

Two vintage-sounding units, full of heritage and trusted by some of the world's top engineers, combined into a focused channel strip workflow.

The Big and Punchy Zener Limiter

A versatile and powerful compressor/limiter with punch and power to match its tasteful distortion.

The Crisp and Colorful Curve Bender

An extremely musical and characterful mastering equalizer. Can be subtle or drastic, but always makes things sound better.

An Imperial Family Tree

Tracing the heritage of the Chandler Limited® Zener-Bender is like discovering an imperial family tree. Its roots are in EMI consoles, used at Abbey Road from the 60s onwards to record some of the most seminal albums of all time, by the likes of Pink Floyd and The Beatles. And right up to the present day Curve Bender and Zener Limiter are being used in both hardware and plug-in form by top producers and engineers across records by world-leading artists such as Beyoncé, Lady Gaga, The White Stripes, Foo Fighters, Taylor Swift, and more. The influence of the Chandler sound cannot be overstated. It shapes the world it rules.

What's included?

Zener-Bender

The native plug-in version of the Zener-Bender, apart from combining the heritage, colour, and character of the Zener Limiter and the Curve Bender in one impactful channel strip, is special for its plug-in-only features.

Digital audio and software flexibility allow us to offer External Sidechain input, Mid/Side Processing, and Channel Linking. Clean up your low end in the center of your soundstage while gently calming your cymbals out wide. Bring a vocal to the front, even at the mastering stage, without damaging the tracks supporting it. You’re in charge of just about everything.

Zener Limiter

The TG12413 Zener Limiter was conceived by Chandler Limited® designer Wade Goeke, to continue the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413.

It's a powerful, punchy-sounding dynamics workhorse, which brings character without being difficult. It's a favorite of top mix engineers like Tony Maserati and Joe Chiccarelli, as much for its versatility as for the mojo it brings.

Curve Bender Mastering Equalizer

The Chandler Limited® Curve Bender mastering equalizer is based on desk circuits from the world-famous Abbey Road Studios in London, used to create albums of genuinely legendary status, such as Dark Side Of The Moon by Pink Floyd, and Abbey Road by The Beatles.

The Curve Bender has more bands (four, compared to the original console’s two), more fixed filter points (a huge fifty-one, up from just nine, chosen and designed in the image of the original circuits by Chandler Limited® founder, Wade Goeke), more Q and gain options, and added low and high pass filters, making the unit a mastering powerhouse without sacrificing the exquisite analogue sound-flavour which made it a leader.

Zener-Bender For Console 1

Softube's hybrid hardware/software mixing system, Console 1, also benefits from the wonderfully unique vintage sound of the Zener-Bender, with its own bespoke version of the channel strip included with the native version, or available on its own.

Console 1 is a highly intuitive hardware control system for Softube's fantastic-sounding software mixing tools – especially complete channel strips – and with every new strip Softube release, the flexibility and freedom grow. The Zener-Bender, in particular, opens up new sonic ground to Console 1 users, with its classic yet wonderfully modern tonal quality.




Features

  • Zener Limiter and Curve Bender combined in one channel strip
  • The historic EMI/Abbey Road sound from the late 60s realized by Chandler Limited®’s hardware and reimagined for a modern studio context
  • Expertly modelled by Softube
  • Includes four plug-ins: Zener-Bender, Zener Limiter, Curve Bender and Zener-Bender for Console 1
  • Units used on modern classic records by Beyoncé, The White Stripes, and Lady Gaga
  • Plug-in exclusive features: External Sidechain, M/S Processing, Channel Linking Zener-Bender
  • Console 1-ready: the individual plug-ins can be used within the Console 1 mixing ecosystem.

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



Tube-Tech Complete Collection

Channel Strip by Softube



Images



Description


Everything Tube-Tech – Colour, Character, and Completion

Tastefully warming and saturating any sound source with its tube-stages, and gently levelling them with its slow, smooth compression, the Tube-Tech Classic Channel is not a typical strip.

Comprised of three separate units, the passive tube-driven PE 1C and ME 1B ‘Pultec’-style equalizers and the world-famous CL 1B optical compressor, it brings warm, punchy analogue sound to any production, and represents the very best in quality and versatility available for the modern DAW-based studio, or anywhere else for that matter.

Epic Analogue Sound

This Mk II version of Softubes beloved Tube-Tech Classic Channel benefits from all the sonic improvements to its component parts – a ground-up remodel of the CL 1B, and revamped EQs using Softube's very latest signal processing technology.

Slick Channel Strip Workflow

Using channel strip-plug-ins can emulate the analogue console workflow in a pleasing and time-saving way. A consistent sound and approach on every channel is often the best route to a stellar mix in the box.

Seven Plug-ins Included

Includes Classic Channel Mk II, individual Mk II plug-ins (Tube-Tech Mk II equalizer and CL 1B Mk II compressor), and all Softube's legacy Tube-Tech plug-ins (Classic Channel, PE 1C and ME 1B equalizers, and CL 1B).

Long and Happy Partnership

As long ago as 2006, Softube formed a partnership with Tube-Tech of Lydkraft, Denmark, and began work on what would become the definitive plug-in representations of Tube-Tech’s best and most highly-prized analogue hardware units.

In 2018 Softube released the updated Mk II versions; a total ground-up remodel of the CL 1B compressor, and a single combined EQ plug-in, taking advantage of Softube's latest signal processing technology. Softube also added stunning high-resolution graphics and additional features to make the best even better.

Improved Control

Building on the success of Softube's original Tube-Tech plug-ins, Softube added features like parallel blend and side-chain low cut to the CL 1B.

Further to that, mid/side processing opens the Classic Channel up for the first time to serious applications of stereo-image management; compress and EQ your kick and snare differently from your overheads, for example, for a wider or more compact drum mix. Or in mastering, gently balance the vocal against the rest of the track by low-cutting the detector circuit of the ‘mid’ portion of the signal and homing in on exactly what you need.

Spectacular Graphics

You might think the way a plug-in looks is immaterial. But size and resolution on a modern display can be a big factor in user experience. The Tube-Tech MkII collections all use Softube's very latest high-resolution graphics standards to match up to their extraordinary sound quality. Even on the biggest, most impressive screens, these units look sharp, clean, and real, so you're always in the moment.

What is the Classic Channel?

The Tube-Tech Classic Channel (the heart of the Complete Collection) combines the CL 1B optical compressor with the PE 1C and the ME 1B, two complementary tube-driven passive equalizers.

The CL 1B is a modern classic for good reason; across genres, it brings warmth through its tube stages, transparent operation on transients through its quick attack, and smooth, musical levelling due to the slow reset characteristics of its gain reduction element. With the equalizers, you can shape the sound of a track, a bus or a whole mix within seconds. The highs sound smooth and gentle, the mid-range airy and focused, and the lows full and fat.




Features

  • The Tube-Tech Classic Channel — perhaps Softube's best-loved plug-in emulation of analogue hardware.
  • A ‘Pultec’-style low and high-end equalizer.
  • Mid-range equalizer with the same passive, tube-driven design.
  • The CL 1B optical compressor – a modern classic in a plethora of genres.
  • Improved sound, with a total, remodel of the CL 1B, along with an update to the EQs using Softube's latest signal processing technology.
  • New features – mid/side processing, and in the CL 1B, side-chain low-cut filters and parallel blend.
  • Spectacular new high-resolution graphics.
  • Legacy plug-ins included.

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



Summit Audio Grand Channel

Channel Strip by Softube



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Description


Combining the smooth operating EQF-100 parametric passive equalizer with the mild but authoritative TLA-100A compressor, Summit Audio Grand Channel is a highly versatile channel strip that will cover a large part of your mixing needs.

The Grand Channel combines the warm and smooth tone sculpting Summit Audio EQF-100 Full Range Equalizer with the rich sounding and dead-easy-to-use Summit Audio TLA-100A Compressor. Having the two combined in a single plug-in makes adjustments easier, as you will often find that the compressor affects the equalizer and vice versa. By default, the sound reaches the equalizer before the compressor, but you can easily reverse the order with a single switch.

When the EQF-100 and TLA-100A were designed, Summit Audio made sure to combine the finest of what vintage tube designs had to offer with a modern sense of how these units should stand the test of time. The result was remarkable, and today you can experience the Summit Audio grandeur in digital form, just reach for the Grand Channel! As a modern addition to the classic TLA-100A, the plug-in also includes Parallel Compression, Saturation Control and Low Cut Filtering on input or detector.




Features

  • Flexible and easy to use with huge sonic range
  • Individual bypass for each of the two units saves CPU power
  • Change the order of the equalizer and compressor with a single switch
  • Each and every component carefully modeled
  • Extremely analog behavior of frequencies, phase, distortion, attack, release, etc

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com.

OS Compatibility



Solid State Logic XL 9000 K-Series for Console 1

Channel Strip by Softube



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Description


Important Note: This product requires Softube Console 1.

Solid State Logic XL 9000 K represents a completely different approach to analog circuits compared to the SL 4000 E channel, included with Console 1. And since XL 9000 K has virtually no distortion of its own, the Softube channel also includes a model of SSL's famous VHD (Variable Harmonic Drive) circuit.

While Solid State Logic's SL 4000 E is widely considered a great pop and rock'n'roll console with its slightly gritty and forward sound, the circuit design of XL 9000 K offers an extreme bandwidth, minimal phase shift and super low distortion. This makes it one of the world's most popular analog consoles for hip-hop and R'n'B, where the solid, deep low end and extended highs work great for getting that hyper-modern, large and wide sound. For the same reasons, it is also loved for classical and acoustic audiophile recordings.

VHD model included

XL 9000 K is a very clean console. In order to still have the option of using distortion creatively, we added a model of Solid State Logic's VHD (Variable Harmonic Drive) circuit, which is part of the Duality series consoles and Alpha channel preamps. The Drive knob on Console 1 determines the amount of distortion, and the Character knob moves the added distortion from 2nd order (more tube-like) to 3rd order (more transistor-like), or any in-between blend—just like on its analog counterpart.

Extended gate and compressor options

Furthermore, the Shape section of the XL 9000 K for Console 1 features a fully controllable gate unit, where the Punch and Sustain knobs control Range and Hold levels. This makes it more individually controllable compared to the SL 4000 E model, where a fast workflow was prioritized. The compressor can be switched between Peak and RMS modes, which gives a wide range of options. The equalizer is clean, smooth and natural.

History

When the first 9000 series console came out in in the mid-1990s, it represented a breakthrough in analog circuitry design. The sound path is entirely capacitor-free, in order to keep a perfect signal integrity and low distortion. The XL 9000 K was the last and most developed version of the 9000 series, released in 2002. It is this version that forms the backbone of Peter Gabriel's RealWorld Studios, Wyclef Jean and Jerry Wonda's Platinum Sound, while Michael Brauer uses a slightly older 9000 J in his room in Electric Lady Studios.




Features

  • Wide, large, smooth sound
  • VHD (Variable Harmonic Drive) model added
  • Extended gate and compressor features

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

  • This product requires Softube Console 1.
  • Make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



American Class A

Channel Strip by Softube



Images



Description


American Class A

Dream Big, Sound Bigger

Gut-busting drums. Crackling, searing, face-melting guitars. Meaty, punching bass. Rich, up-front vocals. Wide-open, airy, living electronics. If you will it, it is no dream with the American Class A.

Based on the greatest classics of American mixing console hardware, this channel strip is fast and easy to work with, and brings a truckload of character to the party.

With a shape section featuring gate and transient designing, a stellar four-band EQ with proportional Q and range control, a fascinating compressor design which can be switched between feedback and feedforward operations, and a warm, crunchy output drive section, no modern studio is complete until this sonic option is at hand.

The American gear on which this strip is based is perhaps best known for the way it brings out the power and energy of modern rock music; acts such as Radiohead, Soundgarden, Foo Fighters, and Pearl Jam have used similar consoles.

Drums leap out of the speakers, vocals grab you by the scruff of the neck, guitars spontaneously combust. But the American Class A is also capable of subtlety.

Using the range controls of the EQ to limit the gain boosting and cutting to a half or even a quarter of the starting values, it becomes a high-resolution mastering unit. And running a synth sound through these same hard-rocking controls can result in improved openness and vitality just as easily as an increased grunt.

This plug-in also seamlessly integrates with Console 1 as a channel strip, so anyone using a Console 1 will have the added benefit of Console 1’s analog workflow and features.

Don’t spend another second longing after that ideal sound. Get the American Class A today. Dream big, sound bigger.

In Short

  • American mixing console sound, for Console 1 or as a standalone plug-in.
  • One license for both the Console 1 version and the native plug-in.
  • Characteristic stepped EQ with proportional Q values. Gives bold boosts and clean cuts.
  • Unique compressor design, which can operate in feedback or feedforward topologies.
  • Cutting-edge graphics and waveform visualisations offer all the information you need.
  • Shape section has both gate and transient shaper, with all the same tasty analog sound of the strip’s circuitry.
  • Crunchy drive from the output stage, with controllable character.
  • A real and complete workhorse replacement for stock DAW mixing tools.



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



Empirical Labs Trak Pak for Console 1

Channel Strip by Softube



Images



Description


Important Note: This product requires Softube Console 1.

Pulling no punchiness for Console 1.

Ever wonder how an Empirical Labs console would sound? Trak Pak has your answer and it’s an emphatic, hell yeah. Introducing the Empirical Labs Trak Pak channel strip expansion for Console 1. In partnership with Dave Derr, the mastermind behind ELI, Softube expertly modelled two killer hardware units: the intensely punchy Lil FrEQ de-esser/analogue equalizer and the hairy, fat-sounding Mike-E saturator/compressor. Turns out, these two get along like gangbusters.

Combined and configured for mixing, this pairing stuffs obscene amounts of power, punch, character, and analogue warmth into a single channel strip. With the highly valued Console 1 workflow and bone-deep ELI sound, Trak Pak is unique for Console 1 and unlike anything on the pro audio market today. Drop exceptional analogue sound and the perfect amount of vintage mojo onto your ecosystem with the Empirical Labs Trak Pak.

Designed by Experts, Built on Legacy

Softube has a long history of modelling professional gear. After nearly two decades working in collaboration with premium pro audio brands like Tube-Tech, Solid State Logic, Chandler Limited®, Weiss Engineering, and Trident, Softube have a solid track record recreating indisputable classics in software form that sound precisely like their hardware counterparts.

Empirical Labs Trak Pak for Console 1 is built on this legacy, and Softube took the same meticulous approach they always do – everything needs to be exact, with skilful recording, precise testing, and fine-tuning to sound exactly like the hardware that inspired it or even better. Nothing less.

Coming Out Shining: the ELI sound

Masterfully recreated in cooperation with Dave Derr and Empirical Labs, Trak Pak is a channel strip unlike any other in the Softube catalogue. It combines the signature ELI sound with the myriad workflow benefits that Console 1 is known and loved for. It's the nearest thing to an ELI console going.

Between the Eyes: Mike-E's compression and distortion

The Mike-E compressor is that flawless blend of compression and distortion that modern production tracks demand. To make it more versatile, Softube split its functions into two Console 1 sections: Compressor and Drive. Compressor handles the pure compression side of things while Drive administers the gritty and warm distortion that Mike-E is famous for.

Smashing Punches: Lil FrEQ's EQ, filters and De-ess section

The four-band parametric EQ, with the LF and HF sporting the now-classic fixed-frequency shelving filters. Added non-stepped high- and low-cut. The De-esser/HF Limiter in the Shape Section, making for some truly original sounds when combined with Mike-E's impressive Compressor and Drive sections. The heart and soul of Lil FrEQ have been transplanted into Trak Pak. And it's giving us life.

Temple of ELI

Based on components from the precisely-modelled Empirical Labs Lil FrEQ and Mike-E units, Trak Pak is our punchiest-ever channel strip for Console 1. Configured for mixing pros and optimized for the Console 1 workflow, Trak Pak features Lil FrEQ's High-Pass filter and a newly designed Low-Pass filter in the Input Section, Lil FrEQ's De-esser/HF Limiter in the Shape Section, and Lil FrEQ's parametric EQ and High/Low Shelving in the Equalizer Section.

Mike-E makes his mark in the Compressor Section. Trak Pak's Compression Section is the compression section from Mike-E's CompSat, which is based on the famous Distressor. Coming straight from the "sat" in Mike-E’s CompSat, Trak Pak's Drive Section offers full-on, retro-flavoured distortion. If you've ever been curious about how a Mike-E/Lil-FrEQ supergroup would sound, check out Trak Pak.

Superknown

Raised by a family of engineers, Dave Derr has gone from a chance encounter at Radio Shack to having his gear used in every major studio and on thousands of records. A rocker in his own right, his name is now synonymous with analogue warmth, but he's not resting on his laurels. On the contrary. The humble genius behind Empirical Labs continues thinking and tinkering and incrementally improving on the already amazing array of products he’s gifted the music industry. Products like Fatso, DerrEsser, and Distressor. It's that work ethic and empirical spirit that has made ELI so well-regarded in the pro audio sphere. Its products are real-world tested and built to get the better of obsolescence. Softube couldn’t be prouder to be part of the Dave Derr and Empirical Labs legacy with their authentic emulations of their modern analogue classics: Mike-E, Lil FrEQ, Trak Pak, and the Empirical Labs Complete Collection.




Features

  • It’s basically like having an Empirical Labs console
  • High and Low-pass filters from the Lil FrEQ: 18 dB/octave
  • Shape section from the DS section of Lil FrEQ (DS and HF, high frequency limiting)
  • 4-band parametric EQ from Lil FrEQ with the separate shelves and filters selectable on the LF and HF bands: Gain +-14 dB
  • Compressor from the Mike-E (based on the Distressor) including NUKE mode
  • Compressor ratios: BYP, 1:1, 2:1, 4:1, 8:1 & NUKE
  • Compressor attack times: 0.9 ms to 100 ms
  • Compressor release times: 0.05 s to 0.5 s
  • Drive has the multistage soft-clipping from the Saturator of Mike-E

Video


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Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important Notes

  • This product requires Softube Console 1.
  • Make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



UltraChannel

Channel Strip by Eventide



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Description


UltraChannel

Professional Audio Engineering For All

UltraChannel™ is a high-precision channel strip that includes several feature-packed versions of Eventide’s legendary effects, all in one plug-in. Whether mixing or mastering, regardless of genre, UltraChannel is the ultimate tool to make your tracks and mixes come to life. It not only has industry benchmark performance but is also the most versatile channel strip available due to our exclusive FlexiPath™ routing, which allows processors to be ordered based on desired workflow.

The Secret Sauce of Mixing

UltraChannel shines in carving out space for any instrument or vocal to sit just right in the mix. There is an infinite number of ways to generate the exact tone, dynamics and frequency characteristics you’re seeking. Additionally, through its support for side-chaining, you can use an alternative audio source to colour the characteristics of your main signal. It wouldn’t be an Eventide if it didn’t also feature micro pitch functionality (from our flagship H8000 hardware) to thicken or increase the stereo spread of any instrument or vocal.




Features

  • Allows drag and drop for reordering the signal path of the top-level components (O-Pressor, compressor/de-esser, EQ, Gate) for ultimate flexibility and experimentation.

  • Soft-Saturation and Transformer Emulation

  • The output module of UltraChannel contains a model of an analog transformer which can be driven into saturation. When subtly used, it provides distinction for signals of low-frequency content. When driven hard, it recreates classic transformer core saturation.

  • Comes with two built-in compressors, one with de-essing and side-chaining, the other is the unique O-Pressor. Derived from of our legendary Omnipressor™, the O-Pressor adds character and extreme compression to your signal-processing arsenal.

  • 5-Band Parametric EQ

  • Covers the entire audio spectrum allowing you to edit the Frequency, Gain, and Q of each of the 5 bands.

  • Over 200 Presets

  • Includes wide range of Factory Presets, many created by Eventide artists, tailored to signal sources such as guitar, bass, kick drum, snare, piano, strings, synths and vocals. They make exploiting UltraChannel’s enormous processing power easy to deploy.

  • Micro Pitch Shift & Stereo Delays

  • Apply Eventide’s patented pitch shifting to any source and control the panning and delay spread. Runs in parallel with a pair of delays that allow you to feed its signal back into any of the other modules.

  • Countless Applications

  • UltraChannel can replace several plug-ins at once, allowing you to minimize CPU loading while still giving you full sonic control over every aspect of your tracks.

  • Mix Engineers

  • Carve a unique space for each element of a song through selective EQ, gating, and tempo-synced delays.

  • Sound Designers

  • Change the entire feel of an instrument through filtering, pitch shifting, delays, or aggressive compression.

  • Artists Using UltraChannel

  • Andre Kelman

  • (Beastie Boys, Phoenix, Gogol Bordello, Cat Power)


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Sound Quality

General Ease of Use

Number of Presets


Windows

  • Windows 8 and later (64-bit only) (Windows 11 supported)
  • AAX, VST2, VST3 (64-bit only)

Mac

  • macOS 10.9 and later (64-bit only) (macOS 12 Monterey and M1 Apple Silicon supported)
  • AAX, AU, VST2, VST3 (64-bit only)
  • Please Note: AAX format is only compatible with Intel Macs (until Avid adds native M1 Apple Silicon support).

Important Notes:

  • Eventide tests their desktop plugins in Ableton Live, Cubase, FL Studio, Logic Pro, Pro Tools, and Studio One (However, our plugins should work with any compatible host.)
  • No iLok dongle is required to run this software - only a FREE iLok account/Manager is required for authorisation.

OS Compatibility



Neutron 3 Standard

Channel Strip by iZotope



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Description


The Modern Way to Mix

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.

Start your Track

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

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.

  • 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:  Win 7 64-bit (Latest Service Pack) – Win 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



Chandler Limited® Zener-Bender for Console 1

Channel Strip by Softube



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Description


The unique Chandler sound for Console 1.

A powerful and musical modern channel strip with the unique vintage sound of Chandler Limited®. The Zener-Bender for Console 1 combines the crisp and colourful character of the Curve Bender mastering equalizer with the big, punchy Zener Limiter to bring class, history, and most crucially of all, a phenomenal sonic impact.

Component-modelled with Softube’s customary care and experience, these units together can take charge of any mix. The Zener-Bender for Console 1 is included in the Zener-Bender channel strip collection.

The Punchy Dynamics of the Zener Limiter

A versatile and powerful compressor/limiter with punch and power to match its tasteful distortion.

The Colour of the Curve Bender

An extremely musical and characterful mastering equalizer. Can be subtle or drastic, but always makes things sound better.

Classic Sound, Modern Workflow

More than the sum of its parts, the Zener-Bender is a uniquely vintage-sounding powerhouse with modern flexibility and workflow, especially when coupled with the hands-on control of Console 1.

Legendary Circuits, Reimagined

Chandler Limited® is one of the most respected modern hardware names in the industry. Founder Wade Goeke, with the permission and endorsement of Abbey Road, has reimagined and expanded upon circuits from consoles used at the legendary studio in some of its most creatively and commercially fertile times. The units which comprise Zener-Bender, Zener Limiter and Curve Bender, are based on desks used in the production of The Beatles and Pink Floyd, most notably the 1969 TG12345 and the 1974 TG12413.

Wade’s modern units featured updated and expanded feature sets, and have been used on records like Lemonade and 4 by Beyoncé, Lady Gaga’s Born This Way, Pink Martini by The Strokes, The White Stripes’ Icky Thump, and many more. A partnership with Softube has been slowly cultivated with after-hours beers, conversation, and karaoke at trade shows the world over, paving the way for Softube's meticulously component-modelled plug-ins.

A New Flavour for Console 1

The Zener-Bender brings a fresh new sonic edge to Console 1. Both vintage and surprisingly present, its musicality is perhaps its most notable feature. Both units are created first of all with a mind for making music, and only employing the math that’s required to achieve the results, rather than revelling in tech for tech’s sake.

Unusual components, including germanium and zener diodes, create a sound world not heard in Softube's other Console 1-ready channel strips, while the architecture of these units emphasizes power, punch, clarity, and colour. Combining by default with the SSL 4000 E-series shape section, and employing the Zener’s Total Harmonic Distortion (THD) circuit as a drive section, this becomes something very special very quickly.

Zener-Bender Native: Chandler Times Four

There is also a native version of the Zener-Bender, for use without Console 1. This option is a collection that includes four plug-ins: Zener-Bender, Zener-Bender For Console 1, and also Curve Bender and Zener Limiter as individual plug-ins. Combining the units into one plug-in channel strip allowed us to add a few workflows not possible in the hardware – External Sidechain input, and Mid/Side Processing.

The Anatomy of the Zener-Bender Channel Strip

Filter Section

The filter section uses Curve Bender’s filters, which are also available in the EQ section if you set the EQ Type on the Low or High band to Cut.

Shape Section

Rather than imagining a shape section out of thin air, or guessing based on components of the Chandler Limited® units, the gate and transient shaper for the Zener-Bender Console 1 channel comes from the SSL SL 4000 E-series strip. It's a surprisingly powerful workhorse. Use it well and your mixes will raise the roof.

Equalizer Section

The Curve Bender’s low and high pass filters are applied to the input section, before the Shape, but can be used in the EQ section too by selecting Cut in the high or low bands. The mixing and mastering gain options are all represented, with subtle clicks of half a dB possible as well as bold 15 dB boosts and cuts.

Compressor Section

The Ratio knob becomes the curve selector, giving you the choice between the Zener’s Comp 1, Comp 2, and Limit modes. Softube combined the input and output gain functions into a single threshold knob without any compromise on the authenticity of the sound.

Drive & Character Section

The Zener Limiter’s THD circuitry is the basis of the strip’s drive section, bringing meaty distortion where required. The Drive Character parameter controls an optional high-mid emphasis or de-emphasis.




Features

  • The sound of the Chandler Limited® Zener Limiter and the Curve Bender Mastering Equalizer combined in one channel strip for Console 1
  • The historic EMI/Abbey Road sound from the late 60s realized by Chandler Limited®’s hardware and reimagined for a modern studio context
  • Expertly modelled by Softube
  • An entirely new sonic flavour for the Console 1 ecosystem
  • The units the Zener-Bender For Console 1 is based on were used on modern classic records by Beyoncé, The White Stripes, and Lady Gaga by some of the world's top engineers
  • Also available as part of the Zener-Bender collection.

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs - and Softube's own rigorous testing standards - Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

OS Compatibility



Neutron 3 Advanced EDU

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: 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



AVA Drum Flow

Channel Strip by Harrison Consoles



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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.



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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.



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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



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


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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



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


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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.


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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



Neutron 3 Elements

Channel Strip by iZotope



Images



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



Channel G HD

Channel Strip by McDSP



Images



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



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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