Hi!
This Plugs for sale or trade
pls email me if any of this need for u --- fgp303 at enternet.hu
All plugs are full license and transferable!!!!
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Abbey Road Studios Brilliance Pack TDM/Native Bundle
The Brilliance Pack provides authentic emulations of the EMI RS127 and RS135 EQ units, which were built in the early 1960s to supplement the EQ on the legendary REDD mixing consoles. These 'presence boxes' were used on countless seminal recordings at Abbey Road during the '60s, including almost every album by The Beatles.
The plug-ins retain the operation and response curves from the original hardware and provide control of frequencies which can improve the presence and definition of recordings and help instruments stand out in a mix. The software is compatible with all popular DAW applications and can be used on mono, stereo and multichannel tracks.
Three plug-in modules are included: the RS127 Rack is modelled on the original rackmount Brilliance Control and the RS135 recreates the 8kHz boost unit. The RS127 Box plug-in was created by modelling the standalone Brilliance Control with an EMI transformer used to connect it to modern consoles. The plug-in features an exaggerated response or 'transformer effect' at some settings, which is due to an interaction between the RS127 and the transformer.
Key Features
* Three plug-in modules: RS127 Rack, RS127 Box and RS135
* EQ curves from vintage Abbey Road hardware
* Exact replication of original design and controls
* Automation and control surface support
* Available in TDM, RTAS, Audio Unit and VST formats
History
Despite the REDD mixing console's involvement in numerous famous recordings of the sixties, it was decided that an outboard equaliser was needed to supplement the limited EQ range on the desk; able to bring presence to the mix and control those frequencies which the REDD could not. The resulting unit, the 127th item made in-house by EMI engineers, was put into service in 1962 and was named the 'RS127 Brilliance Control'.
To begin with, the RS127 was housed in a grey metal box, with a chrome handle so that it could be conveniently rackmounted into the control room patchbays. They became so popular, however, that the Abbey Road engineers would often require two RS127s in series, for a more intensive EQ treatment. To achieve this, a stand-alone portable version, with identical circuits and controls, was built soon after, and painted in the distinctive shade of green seen on much Abbey Road equipment of the time. The RS135 originally operated at 16.4kHz, but was modified to work at 8 kHz to supplement those frequencies provided by the RS127s.
The portability and popularity of these 'Presence Boxes' meant that they were often used throughout the studio complex - not just in the studios themselves, but in the mastering, transfer and post-production rooms as well. Their ease of use and effectiveness at defining individual sounds meant that they became an indispensable tool in most of The Beatles' recording sessions in the latter part of the decade.
System Requirements
Pro Tools 7.x or any AU/VST host
Mac OS X 10.4 (or higher) or Windows XP
iLok Smart Key and ilok.com account
Official Link: http://www.abbeyroadplugins.com/product ... 41016.aspx
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Abbey Road / Chandler Limited EMI TG12413 Limiter
The TG12413 plug-in is an authentic emulation of the compressor / limiter from the legendary EMI TG12345 mixing console, which was used on many classic recordings such as The Beatles’ Abbey Road and Pink Floyd’s Dark Side of the Moon. The TG12345 consoles were custom-built for EMI's studios and were never sold commercially.
The plug-in brings the sound of this rare and sought-after unit to computer-based DAWs and sets a new standard in vintage hardware modelling. It functions as a 2:1 compressor or as a limiter with up to 20dB of limiting and accurately reproduces the behaviour of the original. It can be used on mono, stereo and multi-channel tracks, supporting up to 7.1 surround operation.
Two plug-in modules are included, providing variations on the TG sound: the ‘1969’ module is modelled on the original from the EMI console and the ‘2005’ module is based on Chandler Limited’s hardware reissue of the TG12413, the TG1.
Key Features
* Classic and contemporary modules
* Compressor and limiter modes from the original hardware
* TG-style controls and gain reduction meter
* Mono, stereo and multi-channel operation
* Automation and control surface support
* Available in TDM, RTAS, VST and Audio Unit versions
System Requirements
Pro Tools 6.4 or higher or any AU/VST host
Mac OS X or Windows XP
iLok Smart Key and ilok.com account
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Acoustic Feedback Deluxe
Screaming guitar feedback for Pro Tools HD and VENUE
Release your inner beast with the first realistic guitar feedback simulator on the market. Go from moderate and subtle to rampant and wild by the twist of a knob (or two). To break new musical ground, try inputting a synthesizer, a violin, or even your mother’s grand piano.
Acoustic Feedback Deluxe also features a Harmonic Selector, that allows you to select which harmonic you would like to feedback on. It also features a sub-harmonic with which you can get a really dirty sound.
Features
Added functionality: Choose harmonics with the Harmonic Selector
Added functionality: Sub-harmonic modeling
Realistic simulation (physical modeling) of guitar feedback.
Fully responsive to vibratos, bends, slides, tremolos etc.
Simple user interface: Control amount of feedback with the Feedback knob, and the sensitivity with a Tolerance knob.
Available for Pro Tools HD and VENUE
Acoustic Feedback Deluxe is at the present only available for Pro Tools HD and VENUE as a TDM plug-in.
Official Link:
http://www.softube.com/acoustic_feedback.php
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Brainworx bx_digital
The bx_digital is a state-of-the-art digital mastering processor that provides you with a mastering class 5-band equalizer (TDM: 7 bands!), De-Esser, Mono-Maker and intelligent Bass- and Presence-Shifters. The bx_digital works in up to 3 modes (!) including a sophisticated M/S mastering mode.
The bx_digital emulates the most outstanding modes of the analogue Modus EQ bx1, whereas the software offers literally ALL the features of the hardware including the M/S-SOLO-Buttons, separate input (L&R) and output (M&S) gains, 4 inserts (Creamware SCOPE version only), etc.
We will update all versions available with inserts as soon as the host standards will allow for this feature.
Please check the hardware bx1 features listed on this website under HARDWARE.
The software is available for TDM, RTAS, VST and SCOPE systems and can be purchased in our bx_shop.
General bx features :
* 5 bands mastering EQs (TDM: 7-bands)
* switchable peak, shelving, lo-pass & hi-pass EQs
* 3 Modes: L/R, M/S mastering, M/S recording
* Phase-corrected SOLO-Buttons for L/R/M/S signals
* Link or unlink all or some EQ bands/functions!
* Intelligent EQs: Bass-Shift & Presence-Shift
* Mono-Maker: makes bass frequencies mono only!
* Mastering de-esser with solo buttons ("noise-only")
* Extensive metering, individual L/R and M/S LEDs
* Control stereo-width via M/S gains!
* Individual windows switchable on/off (TDM only)
* Touch-sensitive AUTO SOLO: interactive with ICON for solo modes (TDM only)
* 7-band EQ perfectly matches the ICON-EQ! (TDM only)
* Designed by Dirk Ulrich & Mazen Murad, mastering engineers with international credits
Official Link: http://www.brainworx-music.de/index.php ... =2&lang=en
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Bombfactory BF-2A Compressor
Bomb Factory Classic Compressors look, sound, and work just like the real thing. Whether you're just learning to use compression or a seasoned pro polishing a final mix, you'll love these time-proven designs.
The Bomb Factory BF-2A is modeled after one of the most popular compressors in the industry — the renowned LA-2A. The Bomb Factory BF-2A tube compressor plug-in’s vintage sound delivers incredible warmth and classic compression with the convenience and flexibility that only a software plug-in can offer.
Proprietary modeling technology captures every tube, transformer, and transistor of the originals! Plus, both include sidechain support and perfect stereo tracking — two features not available in the "vintage" domain.
Bomb Factory Purple Audio MC77
The Purple Audio MC77 is meticulously modeled and personally approved by Andrew Roberts of Purple Audio, Inc. and is the latest addition to the Bomb Factory Classic Compressor family. The MC77 plug-in is a spot-on digital replica of Roberts’ acclaimed MC77 Limiting Amplifier, which in turn is an update of his classic MC76 hardware unit. Representing a different take on the 1176-style FET limiter, Purple Audio MC77 gives you access to all the goodness of the original with the convenience and flexibility only a plug-in can offer.
Proprietary modeling technology captures every tube, transformer, and transistor of the originals! Plus, both include sidechain support and perfect stereo tracking — two features not available in the "vintage" domain.
Each of Bomb Factory's Classic Compressors — Bomb Factory BF-2A, Bomb Factory BF-3A, Bomb Factory BF76, and Purple Audio MC77 — preserves every audio nuance and sonic subtlety of the originals. Far more than just a simple simulation of attack and release times, they respond authentically and accurately to all variations in program material. Cutting-edge technology captures every tube, transformer, and transistor of their hardware counterparts, while their software design affords additional luxuries.
Official Link: http://www.digidesign.com/index.cfm?nav ... temid=4171
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Bombfactory Moogerfooger Bundle
[img]http://akmedia.digidesign.com/products/images/enl_BombFactory_mooger_Lg_23132.jpg[/img]
Authentic Analog Designs with Bob Moog
Bob Moog's Moogerfoogers® go digital! Authentic analog designs from electronic music legend Bob Moog, featuring Bomb Factory digital technology, Moogerfoogers combine the best features of audio effects and vintage synth modules, opening new frontiers for sonic exploration. All four of the following moogerfoogers are available together in this specially priced bundle:
The Moogerfooger Ring Modulator's wide-range carrier oscillator and dual waveform LFO mean motion on rhythm tracks and radical low-fidelity textures.
The Moogerfooger Lowpass Filter's envelope follower delivers classic '60s and '70s sounds on bass and electric guitar. Or dial up fat analog for any instrument using the 2-pole/4-pole variable resonance filter. Groovy!
The Moogerfooger 12-Stage Phaser combines a switchable 6- or 12-stage phaser with a wide-ranging, variable LFO. Start with subtle tremolo or radical modulation effects, then crank the distortion and resonant filters for unbelievable new sounds — all with the signature classic Moog sound.
The Moogerfooger Analog Delay is simply the coolest (and warmest!) delay in the digital domain. Due to component shortages, fewer than 1,000 of Bob Moog's "real-world" version will be made. Bomb Factory snagged serial #1 and, as always, meticulously modeled every detail of the classic analog design. Wait until you hear it!
"Bomb Factory's Moogerfooger plug-ins combine gorgeous and smooth graphics with meticulously crafted signal processing. They're a musician's dream come true: They have the essential sound and responsive interface of the analog originals."
— Bob Moog
Official Link: http://www.digidesign.com/index.cfm?nav ... temid=1077
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Bomb Factory Voce Spin and Chorus/Vibrato Plug-ins
[img]http://akmedia.digidesign.com/products/images/enl_BombFactory_voce_Lg_23136.jpg[/img]
From Voce, you get classic effects that sound great on any instrument.
Voce® Spin provides the most accurate simulation of the well-loved rotating speaker. Fifteen classic recording setups feature horn resonance, speaker crossover, varying microphone placement — even the "Memphis" sound with the lower drum's slow motor unplugged. Customize exactly the sound you want with more than a dozen fully automatable parameters!
Voce® Chorus/Vibrato recreates the B-3 organ's mechanical scanner vibrato. You get three settings of chorus and three settings of vibrato on one cool knob! Fun and easy to use, this classic effect has been used for over 60 years. Talk about vintage!
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Cranesong Phoenix
Dave Hill is a very highly respected designer of analogue equipment: some producers and engineers, such as Elliot Mazer, consider his Aria-modified ATR reel-to-reel recorders the best in existence, and his own company Cranesong are renowned for their high-end analogue processors. So when he announces that he's cracked the perennial problem of introducing analogue warmth to digital recording, it's clear that his efforts should be taken rather more seriously than some.
plugins cranesong
The product Cranesong have come up with is Phoenix, a suite of plug-ins for Pro Tools TDM and HD systems on Mac OS and Windows XP which is designed to reproduce the audible effects not only of tape saturation, but of the other elements in a typical tape machine signal path. Rather than create a single plug-in with numerous parameters and a potentially high DSP load, they've produced five separate versions, each with slightly different sonic qualities. Presumably the various versions are designed to reflect the effects of different tape formulations and recorder settings, but the very brief documentation doesn't explain.
Each of the five plug-ins — Phoenix Iridescent, Dark Essence, Luster, Luminescent and Radiant — has the same interface, and it's clear from the controls that this is intended to be one of those 'Make it sound better, and don't bother me with the details' products. In each case there are three operational modes, selected using buttons labelled Gold, Sapphire and Opal, plus a large dial labelled Process Level. You can also adjust the input trim, but to do this you have to click in a box and enter a trim level manually. A simple slider control would have been nice.
So what does Phoenix actually do? Well, the process seems to be a subtle combination of 'tape compression' (ie. frequency-dependent soft limiting with zero attack and release times), equalisation and harmonic enhancement. The operative word here is 'subtle': if you want to turn your drum loops into a pumping mess, or recreate the Strokes' vocal sound, this is not the product for you. But don't let its relative mildness fool you into thinking that it can't make an important contribution to your recordings.
In each of the five plug-ins, Gold mode seems to be the most neutral with respect to the frequency content of the sound, whereas Sapphire adds presence in the upper mids and Opal thickens the lower mids. As you turn the Process Level knob towards 0dB you'll also hear a hike in the overall loudness of perhaps 4 or 5 dB. This makes Phoenix an ideal way to subtly boost the level a signal without running into clipping, though it also makes it hard to A/B the processed and unprocessed sounds.
I tried Phoenix on a variety of instrumental and vocal sources, and it was rare to find a track that wasn't improved by at least one of the five plug-ins — more often I found myself struggling to decide which of them I liked the best. The dynamic element of the process is especially good for adding body to sounds that might otherwise be a little thin, whilst the Sapphire and Opal settings emphasise useful areas of the frequency spectrum in ways that usually sound very natural. The differences between the five plug-ins are more noticeable on some sources than others; again, the frequency response seems to vary subtly, whilst transients are also affected in different ways. Of the five, Dark Essence, Radiant and Luster tend to have the most obvious effects; I found them ideal for sources such as distorted guitars and drums, whilst the more gentle Iridescent and Luminescent provide sympathetic treatment for acoustic guitars and the like. You can also try using Phoenix across the mix buss, although this is one area where it's easy to overdo things.
On a purely practical level, Phoenix scores for its low DSP load (about 13 percent of a Mix DSP chip), simple interface and implementation of the Multishell architecture, which allows it to share DSP chips with other plug-ins, but I'd knock a couple of points off for the lack of an output gain control, which would have made it easier to A/B the dry and processed sounds. And on a sonic level, I can't think of anything else quite like it. It's a well-thought-out attempt to introduce analogue flavour to digital recording, with results a million miles from the overdone, muddy distortion that often passes for 'warmth' in similar products. There will always be engineers for whom only a fully analogue recording path will do, but I suspect that Phoenix might just help to persuade a few diehards to convert. Sam Inglis
PHOENIX is a TDM Plug-In for Pro Tools that is designed to put analog color into the digital domain by increasing apparent loudness without increasing gain (e.g., by modeling analog tape compression). The result is added realism that is missing in "modeled" synths, EQs and digital samplers. The five "flavors" of PHOENIX can solve the "digititus" problem common in digital recordings, resulting in a much more musical and satisfying sound.
PHOENIX is Crane Song’s new suite of TDM plug-ins designed to emulate the unique properties of a magnetic tape machine. Designer Dave Hill has crafted this software with the same attention to detail he used to create the electronics for ATR Service’s much heralded “Aria” discrete tape recorders. His intimate knowledge of analog electronics, as well as decades of experience as a recording engineer has spawned a very useful, musical suite of plug-ins. The PHOENIX process not only incorporates the nonlinear saturation characteristics created by magnetic the tape itself, but also includes the interrelation of an analog tape recorder’s record/reproduce electronics and equalization curves. The PHOENIX suite is not merely a downscaled version of the Crane Song HEDD processor, but a ground-up application derived from HEDD technology, and specifically engineered and optimized for Digidesign’s TDM architecture.
Five different TDM plug-ins emulate different tape characteristics, each one incorporating a color change button allowing three choices to modify the process. The Gold button is the position where the color is approximately flat in frequency response, with Sapphire being a brighter, and Opal being a warmer tonality. A level control determines the amount of the PHOENIX process integrated into the audio signal, and an input trim determines “how hard you hit the tape.” Because the DSP process is level dependent, reducing the input level will also cause a change in sound.
The input trim can also be used to prevent clipping in the rare cases where clipping may be a problem. This can be useful on material that is hitting close to or at digital zero. When the input trim is at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input.
The PHOENIX suite contains five separate plug-ins:
Luminescent is the most neutral sounding process of the five.
Iridescent has a similar magnetic character, but with a fatter bottom and midrange. This plug-in is the most similar to the tape knob on HEDD-192.
Radiant is characterized by a more aggressive compression curve
Dark Essence is even more aggressive. (The effect is a color with a wider frequency range--when used on a vocal Dark Essence can reduce sibilance problems by increasing the apparent loudness of the rest of the signal.)
Luster starts more gently than the other four processes, but becomes as aggressive as Dark Essence when the process is at full scale.
Running within Digidesign’s multi-shell architecture, PHOENIX is very DSP efficient. It will run approximately twenty instances of a plug-in on a single DSP chip (HD system at 44.1 kHz sample rate).
PHOENIX’s color is dependent on signal level, program material and sample rate. A higher sample rate results in smother sounds.
The PHOENIX plug-in suite provides a wide range of choices to make your digital world sound warmer, fatter, and more analog. The plug-ins can be somewhat subtle, but the cumulative affect when used on a number of tracks can bring back the warmth and richness which only analog recording has been able to provide.
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Digidesign Eleven
Features
Create highly realistic mic’d guitar amp/cabinet sounds within your Pro Tools, Avid, or VENUE system
Choose from a must-have collection of vintage and modern amp, cabinet, and mic models to create your own signature tone, or use the customizable presets to instantly re-create a classic sound
Achieve multi-dimensional guitar tones complete with power amp sag, ghost notes, cabinet resonance, and speaker cone breakup**
Innovative amp cloning technique delivers the sound and feel of classic tube amps by emulating each component to behave like its hardware counterpart
Convolution-based speaker cabinet and mic models provide incredibly rich tones, and include on- and off-axis mic positions for more tone-tweaking flexibility
Supports 96 kHz, 88.2 kHz, 48 kHz, and 44.1 kHz sample rates
Guitar Amp Models*
The amp models in Eleven are based on the following original vintage and modern guitar amps (Eleven also includes two Digidesign custom amps):
’59 Fender® Bassman®
’59 Fender® Tweed Deluxe
’64 Fender® Black Face Deluxe Reverb® Normal Channel
’64 Fender® Black Face Deluxe Reverb® Vibrato Channel
’66 VOX® AC30 Top Boost
’67 Fender® Black Face Twin Reverb®
’69 Marshall® 1959 100 Watt Super Lead Plexiglas Head
’82 Marshall® JCM800 2203 100-Watt Head
’85 Mesa/Boogie® Mark IIc+ Drive Channel
’89 Soldano SLO100 Super Lead Overdrive Head Clean Channel
’89 Soldano SLO100 Super Lead Overdrive Head Crunch Channel
’89 Soldano SLO100 Super Lead Overdrive Head Overdrive Channel
’92 Mesa/Boogie® Dual Rectifier® Head Vintage Channel
’92 Mesa/Boogie® Dual Rectifier® Head Modern Channel
Digidesign Custom Vintage Crunch
Digidesign Custom Modern Overdrive
Speaker Cabinet Models*
The speaker cabinet models in Eleven are based on the following original speaker cabinets:
’59 Fender® Bassman® 4x10” with Jensen P10Qs
’59 Fender® Tweed Deluxe 1x12” with Jensen P12Q
’64 Fender® Black Face Deluxe Reverb® 1x12” with Jensen P12N
’66 VOX® AC30 2x12” with Celestion Alnico Blues
’67 Fender® Black Face Twin Reverb® 2x12” with Jensen C12Ns
’68 Marshall® 1960A with Celestion G12H “Greenbacks”
’06 Marshall® 1960AV 4x12” with Celestion Vintage 30s
Microphone Models*
The microphone models in Eleven are based on the following popular mics:
Shure SM7 Dynamic Microphone
Shure SM57 Unidyne III Dynamic Microphone
Sennheiser MD 409 Dynamic Microphone
Sennheiser MD 421 Dynamic Microphone
Neumann U67 Condenser Microphone
Neumann U87 Condenser Microphone
AKG C 414 EB Condenser Microphone
Royer 121 Ribbon Microphone
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official link:
http://www.digidesign.com/index.cfm?nav ... temid=5422
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Digideisgn Impact
Console-Style Mix Bus Compression
The first Digidesign TDM plug-in compatible exclusively with the new HD Accel PCI cards, the Impact compressor is the first of its kind to bring console-style mix bus compression to Pro Tools via a familiar user interface and control set. With support for multichannel tracks up to 7.1 and sampling rates up to 192 kHz, Impact offers unmatched features and sound previously unavailable with other TDM compressors.
Impact’s clean and well-organized user interface emulates the look of a console mix bus compressor. Its control set includes four selectable compression ratios and variable controls for Attack, Release, Threshold, and Make-up Gain. The Impact compressor interface includes a Gain Reduction meter that replicates an analog meter with an animated bouncing needle, displaying authentic ballistics as it meters gain reduction. The Impact compressor also includes a side-chain input, allowing any Pro Tools audio track to be used as an external key.
Ideal for professional music and post environments where critical control of dynamic program material is essential, Impact’s ability to go from subtle smoothing of dynamics to extreme squashing compression is without peer.
The first Digidesign TDM plug-in compatible exclusively with the new HD Accel PCI cards, the Impact compressor is the first of its kind to bring console-style mix bus compression to Pro Tools via a familiar user interface and control set. With support for multichannel tracks up to 7.1 and sampling rates up to 192 kHz, Impact offers unmatched features and sound previously unavailable with other TDM compressors.
Impact’s clean and well-organized user interface emulates the look of a console mix bus compressor. Its control set includes four selectable compression ratios and variable controls for Attack, Release, Threshold, and Make-up Gain. The Impact compressor interface includes a Gain Reduction meter that replicates an analog meter with an animated bouncing needle, displaying authentic ballistics as it meters gain reduction. The Impact compressor also includes a side-chain input, allowing any Pro Tools audio track to be used as an external key.
Ideal for professional music and post environments where critical control of dynamic program material is essential, Impact’s ability to go from subtle smoothing of dynamics to extreme squashing compression is without peer.
Features
* Console-style mix bus compressor
* Flexible control-set in a familiar layout
* Supports all Pro Tools multi-channel formats
* Supports sampling rates up to 192 kHz
* External side-chain input with key listen
* Photo realistic gain reduction meter
System Requirements
Digidesign-qualified Pro Tools|HD® Accel or VENUE live sound system; Impact is not compatible with previous generation TDM systems
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Digidesign Reel Tape Delay
Psychedelic, Dub, and Electro music styles are hotter than ever, and the warm, ear-pleasing sound of tape-based delay has never been more relevant. Reel Tape™ Delay emulates analog tape echo and delay effects with expertly modeled frequency response, noise, wow and flutter, and distortion characteristics. Reproduce fluctuations in tape speed — both small and large. Even get the full effect of adjusting tape speed during the record/playback process. Delays are fully adjustable over a wide range, and because EQ and detailed level control are built into the echo/delay loop, the feedback controls allow you to dial-in a variety of effects, from tastefully subtle to over-the-top.
Authentically modeled analog tape echo and delay effects
Reproduce the fluctuations in tape speed
Adjust delays from 93 ms to 1,486 ms (1-7/8 ips to 30 ips)
Feedback control adjusts the amount of delayed output fed back into the input
Wow & Flutter controls adjust tape speed fluctuation
Bass and Treble controls in the echo/delay feedback loop allow for subtle to extreme feedback and saturation effects
Digidesign Reel Tape Flanger
The reason why most flanger effects sound unconvincing is because the studio technique that they imitate is dependent on so many real-world factors. Reel Tape™ Flanger thoroughly models the tape flanging process and hardware characteristics, and provides an arsenal of controls for shaping the output in real time. The results are as close as you can get to the real thing — and a lot easier to use! The sonic characteristics of frequency response, noise, wow and flutter, and distortion are captured in detail and applied to a variety of tape speed and delay control options. Infamously difficult manual flange and artificial double-tracking (ADT) techniques are simple to re-create. Simply adjust the variable delay manually (or use the LFO and Depth controls) and listen to the captivating frequency sweep and “crossover” cancellation effects heard on so many classic recordings. You also get easy access to tape speed fluctuation and feedback controls.
Accurately reproduce analog tape machine flanging
Adjustable speed control allows for manual flanging and artificial double-tracking effects
Feedback control adjusts the amount of flanged output fed back into the input
Wow & Flutter controls adjust tape speed fluctuation
LFO Rate and Depth settings control the speed and depth of the flanging effect
Official Link: http://www.digidesign.com/index.cfm?navid=115&langid=100&itemid=5045
Digidesign Reel Tape Saturation
Re-create the classic analog recording experience. Reel Tape™ Saturation emulates the color characteristics, tape compression, and saturation effects of popular analog tape formulations, including the classic Ampex 456* and higher-output Quantegy GP9*. It also features carefully modeled characteristics from renowned tape machines such as the 3M M79* and Studer A800*. Enjoy full control over tape speed, hiss, bias, and calibration levels — and forget about cotton swabs, rubbing alcohol, and razor blades!
Bring the warmth and punch of analog tape color and saturation into the digital domain
Phase and frequency response characteristics modeled from three types of analog tape machines
Saturation effects modeled from two popular tape formulations
Control the tape speed effect from 7.5 to 30 ips (inches per second)
Noise controls adjust the amount of tape hiss
Bias controls simulate the effect of under- or over-biasing the tape machine
Cal Adjust control simulates the effect of three common calibration levels
* Digidesign Reel Tape plug-ins are not connected with, or approved or endorsed by, the owners of the 3M, Studer, Ampex, or Quantegy trademarks. These names are used solely to identify the products that were modeled to create the Reel Tape plug-ins.
Official Link: http://www.digidesign.com/index.cfm?nav ... temid=5046
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Digidesign Revibe Room Modeling Reverb
ReVibe is a powerful room-modeling TDM plug-in exclusively designed to take advantage of the supercharged processing capabilities of HD Accel PCI cards. The 96 kHz optimized ReVibe provides nine reverb algorithms combined with hundreds of room reflection models. With its intuitive user interface and detailed controls, ReVibe handles nearly any reverberation task with ease.
ReVibe supports up to 5.x Pro Tools multichannel formats, and includes independent reverb, early reflection, and level controls for the rear channels. Rear-channel reverb controls may also be used in mono or stereo instances, providing more presence and density to the reverb character.
ReVibe’s ability to accurately represent a room’s sound or ambience enables it to offer highly-detailed models of a number of real spaces as well as springs and plates — making it a perfect complement to Reverb One’s classic digital reverb sound.
Official link: http://www.digidesign.com/index.cfm?nav ... temid=4097
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Digidesign Synchronic
Comprehensive Beat and Audio Manipulation Tool for Pro Tools
In the worlds of electronic music and sound design, a tool occasionally appears that promises to leave a permanent imprint. Digidesign’s new Synchronic software instrument is such a device, providing musicians and sound sculptors with an intuitive, deep-featured means of developing truly distinctive loops and enhancing the originality of their work.
Compatible with both Pro Tools LE and TDM systems, Synchronic is a novel new RTAS plug-in that enables you to easily manipulate audio loops to create an innumerable variety of unique rhythmic and sonic variations. With Synchronic, you can easily create rhythmic modifications and in-tempo effects with individual beats and beat subdivisions within a loop.
Features
* An innovative sound design and beat creation tool for the Pro Tools environment
* Performance-inspired design, user interface, and functionality for DJs, live electronic musicians, and others
* Modular configuration with presets allows for endless combinations as well as instant recall
* MIDI-synchronized intempo effects with real-time control
* Controllable directly through its own graphic user interface, MIDI, plug-in automation, or Digidesign-qualified Pro Tools control surface
* Graphical slice point editor for automatic and manual loop-slicing
* RTAS plug-in support for both Pro Tools LE and Pro Tools TDM systems
* Support for up to 96 kHz Pro Tools sessions
* Over 200 MB of free audio loops from Digidesign Development Partners (box version only)
* iLok-protected for portability
In the worlds of electronic music and sound design, a tool occasionally appears that promises to leave a permanent imprint. Digidesign’s new Synchronic software instrument is such a device, providing musicians and sound sculptors with an intuitive, deep-featured means of developing truly distinctive loops and enhancing the originality of otheir work.
Compatible with both Pro Tools LE and TDM systems, Synchronic is a novel new RTAS plug-in that enables you to easily manipulate audio loops to create an innumerable variety of unique rhythmic and sonic variations. With Synchronic, you can easily create rhythmic modifications and in-tempo effects with individual beats and beat subdivisions within a loop.
Tweaking, Synchronic-style
Whether in a studio environment or onstage, Synchronic gives you the power to substantially modify looped audio on the fly and, in the process, define your signature sound. Much like a typical DJ rig’s deck arrangement, Synchronic’s interface includes two discreet channels through which audio is displayed, manipulated, and played back. Synchronic features five main sections or modules, each of which can be edited, stored, and recalled through presets accessible via the plug-in:
* Sound Module — The Sound Module can load up to twelve different mono or stereo audio files of any bit depth and sample rate. After importing a file, the loop can be sliced up to play in synchronization with the Pro Tools MIDI Beat Clock. Any two sounds (A and B sources) can be played back simultaneously.
* Playback Module — The Playback Module manipulates the output of the Sound module. Various aspects of sound playback — such as speed, order, duration and direction, as well as modes such as “Stab”, “Spin” and “Smear” — are synchronized with the Pro Tools MIDI Beat Clock.
* Effect Module — This module processes the output of the Playback Module and can be synced to the Pro Tools Beat Clock to introduce any combination of four concurrent intempo effects: Gain, Noise, Filter, and Delay.
* XFade Module — Synchronic’s XFade (crossfade) Module mixes the A and B sounds after they have been processed by the Sound, Playback, and Effect modules. The crossfade between the A and B sounds can be controlled by either a Synchronic preset or through a DJ mixer-style crossfader. The XFade Module presets can also be synced to the Pro Tools MIDI Beat Clock for intempo crossfading.
* MIDI Module — Synchronic’s MIDI Module enables you to assign and trigger combinations of sounds and module presets via MIDI. You can also freely map MIDI controllers to Synchronic controls.
Once your audio loops are loaded into Synchronic, they can be controlled using Synchronic’s user interface, Pro Tools MIDI tracks, an external MIDI controller, a qualified Digidesign control surface such as Command|8, and/or Pro Tools plug-in automation. Unlike other beat and looping software products, Synchronic synchronizes to the Pro Tools MIDI Beat Clock directly. This relationship causes Synchronic playback to lock to the Pro Tools session tempo (including tempo changes) even while the operator creates modifications in the playback order, speed, and volume of individual beats and subdivisions of the beat (or “slices”) within a loop.
As explained, the benefits of Synchronic are not limited to the studio environment or to sound design applications, although the plug-in exceeds in both capacities. An ideal instrument for spontaneous composition and improvisation, Synchronic offers performing electronic musicians and DJs the ability to sculpt loops and create tempo-based effects in a live setting in real time. With its many possibilities and ease-of-use, Synchronic invites you to interact with its control set to achieve your desired affect or something completely unexpected. When combined with a MIDI controller, all of its parameters can be controlled in real time, and individual presets within Synchronic’s modules can be recalled simply by triggering a MIDI key. And multiple instances of Synchronic can run within the same Pro Tools session to meet your creative demand. Synchronic can even work alongside other music software products such as Ableton Live and Propellerhead Software Reason to bring a new breadth to your music.
With Synchronic, beat reordering is only the beginning. Synchronic is fully capable of performing complex beat manipulations, effects, and cross-modulations tightly synced to the Pro Tools Beat Clock. These effects are not limited to being applied only to loops in their entirety but also to individual beats within the loop, allowing the user to create complex soundscapes that are still tied to an underlying pulse from the Beat Clock.
Synchronic ships with over 200 MB of royalty-free loops contributed by Digidesign’s acclaimed Development Partners to get you started (boxed version only); you can also bring your own SD II, WAV, and AIFF files into the mix through a simple import. 96 kHz sample rate support ensures that no matter where or when you’re making your music, sound quality will not be an issue. Additionally, iLok protection offers portability so you’re never at a loss when inspiration strikes.
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Digidesign X-Form
Digidesign X-Form™ represents the pinnacle of time compression/expansion and pitch-shifting technology. Available for all Pro Tools® and Avid DNA™ systems, this high-quality AudioSuite™ plug-in delivers professional time stretching and formant-correct pitch shifting with professional results, even at extreme settings. X-Form is ideal for music production, sound design, post production, or any other application that requires natural-sounding time stretch and pitch shift processing.
The Right Tools
To help give you the best results with a wide variety of source material, X-Form provides a choice of two time-stretching/pitch-shifting algorithms. The Polyphonic algorithm is ideal for use on complex audio files, such as chords or an entire stereo mix. This algorithm is truly “best in breed,” and when used with the Transient Sensitivity control, it allows you to compress or stretch drum loops and other percussive material without losing crucial attack transients. When working with solo instruments or vocals, choose the Monophonic algorithm. Of course, experimenting with both algorithms is the key to obtaining the perfect effect.
Unparalleled Sound Quality
Each algorithm was designed to provide exceptional results capable of preserving proper stereo imaging, attack transients, and timing accuracy—even at extreme settings. With X-Form, you can process files within a mind-blowing range of 12.5 to 800 percent of the original length (1/8 to 8x the original duration). The pitch shifting is equally impressive, allowing you to shift a file up or down three octaves with proper formant correction—even on polyphonic material—so the audio sounds completely natural. How is this possible? The secret is the X-Form plug-in’s frequency domain processing, a technology proven more effective than the “frame overlap” algorithms used in most time-stretching products.
Intuitive Control
Fortunately, X-Form makes using this powerful technology ultra-intuitive. Simply choose an algorithm and let X-Form do the rest. While other products require you to experiment with a myriad of confusing controls to get the desired results, X-Form delivers natural-sounding time stretching and pitch shifting via a single “Time Shift” control and the Process button. The X-Form algorithm can even be used from within the TCE Trim Tool*. Whether you work in post and need to fit audio to video clips, or produce music and want to tune a performance or sync up loops, X-Form provides seamlessly integrated professional time stretching and pitch shifting within Pro Tools.
* Professional, flexible time stretching and formant-correct pitch shifting for monophonic and polyphonic audio material
* Minimal controls for simplified workflow and professional results
* Easy-to-read display fields for viewing audio region start and stop times for both processed and unprocessed files in multiple timebase formats
* Pro Tools TCE Trim tool support for increased time stretching/pitch shifting workflow efficiency*
* Multichannel and multi-input phase-coherent processing
* Professional time compression/expansion with 12.5- to 800-percent range for processing a file from 1/8 to 8x its original duration
* Professional pitch shifting from three octaves below to three octaves above the original pitch
* AudioSuite file-based processing; supports Pro Tools|HD®, Pro Tools LE™, Pro Tools M-Powered™, and Avid DNA™ systems
System Requirements
* A Digidesign-qualified Pro Tools|HD, Pro Tools LE, or Pro Tools M-Powered system running Pro Tools 7.0 or higher software, OR
* A qualified Avid Xpress®, Avid Xpress DV, or Avid DNA system (AudioSuite only)
* iLok USB Smart Key (sold separately), Internet access, and a free ilok.com account
* Pro Tools TCE Trim Tool support requires Pro Tools 7.2 or higher software.
X-Form is based on the iZotope Radius time-stretching and pitch-shifting algorithms under license from iZotope.
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Eventide H3000 Factory - The Ultimate Effects Toolkit
[img]http://www.recallbeats.co.uk/pix/Factory_Program.jpg[/img]
H3000 Factory™ is based on the ever-popular Factory algorithms from the H3000 and features the ability to patch together any combination of eighteen effects blocks.
Available effects blocks include delays, amplitude modulators, envelope followers, pitch shifters, filters, and low frequency oscillators. The Function Generator features nineteen waveshapes, a white noise generator, MIDI control, and a sidechain input. All delays and LFOs can be locked to system tempo. Each delay can be looped and offers a low pass filter. The filters are selectable band pass, high pass, and low pass with variable Q, and can be swept and modulated without audible artifacts.
Expert View:
[img]http://www.recallbeats.co.uk/pix/Factory_Expert.jpg[/img]
Function View:
[img]http://www.recallbeats.co.uk/pix/Factory_Function.jpg[/img]
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Eventide Omnipressor
[img]http://www.recallbeats.co.uk/omnipressor.jpg[/img]
Widely used on hit records throughout the last three decades, one of our first customers was a young Brian May, lead guitarist of Queen. With the Omnipressor in his rig, his sound was never the same again.
Dubbed the Omnipressor® because of its unique ability to both compress and expand audio, it is capable of extreme compression, limiting, expanding, and dynamic reversal.
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Flux Epure 2 TDM+RTAS Bundle
Epure logically complements the Flux:: audio processing line. This 5 bands equalizer takes up the philosophy of excellence which animates all the Flux:: products.
Epure II uses a State-Space implementation to produce the best possible signal to noise ratio whatever the settings are. Usually digital equalizers damage this ratio by increasing the noise level for negative gain values. The algorithm of Epure II ensures the best quality ever for digital equalizer. The user interface uses also the A/B morphing system for presets for ultra fast and precise operations.
For every section:
* Individual bypass.
* The filter type can be set to low cut, low shelving, peak, hi shelving, hi cut
* The gain be set from -24 dB to +24 dB
* The frequency range covers the whole bandwidth
* The Q factor can be adjusted from 0.1 to 10
Epure also features five unique functions to make equalization even more easy:
*
Copy A and Copy B duplicate the twenty settings of a slot to the other in one click
* X2 and /2 affect the gain value for every equalizer section
* Invert turns the positive gain values to negative ones and vice versa
Combined with our exclusive A /B morphing system, those five functions enable a global and efficient control of the equalization curve in a second.The new preset manager allows to save global presets made of two different presets including the A / B morphing slider position. Note also that factory presets are now provided for every plug-ins. Epure II includes internal Input /output routings. A channel group management allowing to set many channels or individual channel setting is also available from the new setup window. From this window, up to 4 MS encoders and up to 4 MS decoders can be engaged if required.
Official Link: http://www.fluxhome.com/index.php?optio ... &Itemid=62
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Line6 Echo Farm
Vintage Echo Plug-in for Pro Tools
Give your tracks organic life with the warmth, warble and warping of classic echo effects — without ever wrestling with cantankerous vintage hardware! Echo Farm includes extended delay time, bpm/note value delay time setting, tap tempo and complete automation.
Features
* A whole collection of classic echo units — all programmable and automatable
* Echo Models based on: Maestro Echoplexes, Roland RE-101 Space Echo, Boss DM-2, Electro-Harmonix Memoryman, TC Electronics 2290, plus Lo Res Delay, Filter-Sweep Echo, and more
* Tempo Lock allows Echo Farm to automatically lock to the tempo of the Pro Tools session, even through Tempo changes. Pro Tools 6.1 or higher software is required to use the Tempo Lock feature.
All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6 or Digidesign. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6's sound model development.
Maximum Supported Sample Rate: 192 kHz
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Serato Audio Research Pitch 'n Time Pro 2.4
[img]http://www.audiomidi.com/assets/6201_ser_pitchshift_screen.jpg[/img]
Pitch 'n Time Pro is a high quality time-stretching and pitch-shifting AudioSuite software plug-in for the Pro Tools platform. It works with all versions of Pro Tools including Pro Tools HD, LE, and M-Powered.
Pitch 'n Time Pro offers time compression and expansion from a ratio of 1/8 speed through to 8 x speed independent of pitch, and pitch shifting of up to 36 semitones independent of tempo.
The time-stretching and pitch-shifting functions each have three interchangeable panels, ranging from simple fixed ratios to complex tempo and pitch alterations that vary over time. You can even warp the timing of your samples just by placing markers and moving them around.
The tempo and pitch panels can be mixed and matched to suit your application, with real time previewing.
Official Link: http://www.serato.com/pitchntime-pro
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Sonnox Oxford Dynamics
Overview
The Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.
Features
# Channel Dynamics with separately controlled sections for Compressor, Limiter, Gate and Expander.
# Channel Dynamics includes fully featured 2 Band side chain EQ which can also be used in signal path.
# Separate Bus Compressor / Limiter with surround multi-format support and selectable Sub channel filtering and gain contribution control.
# Selectable linear and exponential time constant curves.
# Highly accurate logarithmic side chain processing.
# Fully variable soft ratio function for extreme programme tolerance and highly musical compression.
# Variable harmonic enhancement for extra loudness, presence and 'punch'.
# Selectable re-dithering function for word length reduction in mastering situations.
# Extremely low signal path noise and distortion, below -130dBr.
# All functions are fully automated.
Platforms Supported
Pro Tools HD (TDM), Pro Tools LE (RTAS), M-Powered (RTAS), PowerCore, AU, VST
General
The Sony Oxford Dynamics plug-in is a highly sophisticated device with comprehensive control of many parameters. Therefore, to aid operation, there is separate page of controls for each process, since it would not be feasible to have all controls and displays available on a single page.
Although there are four gain level controlling processes, Gate, Expander, Compressor and Limiter in the mono and stereo plug-ins, their control signals are all derived from a single side-chain detector, operating on a single gain control element. The amount of processing necessary to allow a detector for each process would be far too great for current processor capabilities, if done correctly.
The 5.1 Buss Compressor does not include gating and and expansion, but as an additionally has a Sub Filter section.
Feed-Forward Architecture
The type of architecture in the Oxford Dynamics uses feed-forward techniques. In this case, a tiny delay is introduced into the signal path. (The amount of delay is virtually insignificant, and can be compensated for, in order that all signal paths are aligned, in any case.) This delay allows time for the side-chain control signal to be generated so that it can coincide exactly with the signal it will control. This technique allows very accurate control of the audio levels by generating totally precise control signals, thus preserving audio quality.
Gate
The gate acts like a switch, where signals below the THRESHOLD setting are attenuated, according the the RANGE control setting. This type of function is useful for suppressing unwanted background noises, such as tape hiss, where the wanted signal is well defined. Gates are very useful on drums and percussive instruments too.
Once the signal reaches levels above the THRESHOLD, the gate opens allowing the signal through at full level. When the signal level falls, it must reduce to 4dB below the THRESHOLD before the gate will close again. This is known as 4dB of hysteresis. Increasing the ATTACK time, softens the attack 'edge', and the RELEASE sets the time for the closure take to take place. The HOLD sets the minimum time before the gate is able to close again.
Expander
The expander has all the same controls as the gate with the addition of a RATIO control. But whereas the gate acts like a switch, allowing the full signal through once the THRESHOLD has been reached, the expander allows the signal level to increase, according to the slope of RATIO setting. This function can be used to lower background background noises but is particularly useful for increasing the dynamic attack of any musical instruments which are percussive nature, such as drums, percussion and acoustic guitar.
Compressor
The compressor allows gain reduction to signals beyond the level set by the THRESHOLD according to the RATIO setting. The RATIO can be set anywhere between 1:1, where no compression takes place, and 1000:1 where virtually total limiting takes place, meaning that there is no increase in level whatsoever for signal level beyond the THRESHOLD.
The ATTACK determines how quickly the compression sets in, allowing initial transients to pass, with the longer settings, useful to pass the intial attach of percussive intruments. The RELEASE sets the time taken to recover to no gain reduction, once the signal has returned to a level below the THRESHOLD. The start of the RELEASE phase can be further delayed by increasing the HOLD control.
The transfer curve of the compressor will normally show a corner at the THRESHOLD point, the transition between no gain reduction and gain reduction. This corner can be 'smoothed' using the SOFT function which helps to 'hide' compression.
When compression takes place, the overall signal is reduced at the higher levels, normally requiring the level to be 'made up' again. The MAKE-UP gain control allows for this.
Limiter
The limiter is designed to set a fixed ceiling for signals according to the THRESHOLD setting. Although it does have an ATTACK control which can allow initial transients to pass, at the medium and fastest ATTACK setting, the signal can be retained so as not to exceed the THRESHOLD. This is achieved with 'feed forward - look ahead' techniques and allows initial attack transients to be significantly modified without breaching the THRESHOLD setting.
Limiters were originally designed to prevent transmission systems being overloaded but are often used as artistic tools too. The ATTACK, HOLD and RELEASE behave in a similar manner to those of the compressor, but have different ranges.
Side-Chain EQ
The side-chain equaliser is a fully parametric 2 band section. Its main purpose is to allow modification of the frequency response of the side-chain signal path for functions such as 'de-essing'. It is possible to use it in the main signal path alone as an additional 2 band equaliser, or it can be used in the side-chain alone, or for both the signal path and side-chain combined.
Warmth
The AMOUNT control allows the addition of harmonically related signal with a tube or electronic valve like characteristics. Signal increases of up to 6dB can be achieved within the audio, but without going over the digital maximum. MAX TRIM allows fine tuning in order to compensate the peak level. The warmth function is indepedent without dependency on other dynamic processes.
Buss Compressor (Pro Tools HD & PowerCore only)
http://www.sonnoxplugins.com/pub/plugin ... 5-200w.jpg[/img]
The buss compressor plug-in includes a 5.1 wide compressor and limiter where the sub channel has some additional individual control.
The 5.1 compressor, limiter and warmth sections have exactly the same controls and parameters as the mono and stereo. Additionally for the sub channel, the LP FILTER sets the cut off frequency, the SUB TRIM sets the contribution of the sub signal to the side-chain, and the SUB PASS sets the amount of gain reduction control passed to the sub channel.
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TC Electronic MD3 + Brickwall Limiter Stereo Mastering Bundle
The MD3 Stereo Mastering package brings processing only known from the System 6000 to ProTools. This package presents professional production and mastering possibilities to the realm of DAWs, and integrates smoothly with serious music and film editing applications.
The MD3 Stereo Mastering package includes two pristine algorithms, MD3 Multiband Dynamics and BrickWall Limiter:
MD3 Multiband Dynamics
Dual Mono and Stereo dynamics processing in three frequency bands. By offering a true side-chain split structure, MD3 is also capable of demanding mono material compression/limiting on two separate channels, not found in other multi-band dynamics processors. MD3 can be regarded as a high-end mastering tool. M and S components of a stereo signal can be processed separately and provide even more control making full use of the Spectral Stereo Enhancer.
Brickwall Limiter
If you are concerned about audio quality at the end listener, or have a desire to conserve talent, the BrickWall Limiter is the solution. While it cannot prevent destruction of dynamic range from happening at earlier stages in the production process, it does get rid of the signals known to generate distortion in consumer CD players, radio processors and data reduction codecs.
Main Features
Multiband Dynamics
* Four band Parametric EQ
* Three band Expander and Compressor
* Limiter and Soft Clip functions
* Use on Dual Mono sources or Stereo signals
* MS mode for advanced image controlling
* 48 bit, fixed point, hi-res processing
Brickwall Limiter
* Low distortion, precision Limiter
* Detects if signal is contaminated with 0dBFS+ peaks
* Prevents downstream distortion from being generated
* 3 times up-sampled processing
* 48 bit, fixed point, hi-res processing
Official Link: http://www.tcelectronic.com/MD3TDM.asp
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TC Electronic HARMONY 4
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Virtual Voices, Real Results
Natural, intelligent vocal harmony for ProTools HD and PowerCore
TC-Helicon adds Doubling Presets and Universal Binary support to Harmony4
- new version adds double presets that emulated overdub sounds
- new double presets also do octave doubling
If you’ve dreamed of producing a hit song, you’ve surely thought about great harmonies.
Now think about arranging and stacking the perfect harmony parts long after the singer has done the main work and gone home. How about adding that one last high harmony part... during mixing! Maybe you could
quadruple each of the three parts your singer did in three quick passes through the plug-in.
These are your options with Harmony4. With a choice of MIDI controlled and automatic control methods, anyone can take advantage of this new way of working regardless of instrument skills. The sonic difference lies in TC-Helicon’s research and implementation of humanization features, the accuracy and speed of the patent-pending pitch detection and other great algorithms you’ll discover when you use Harmony4 on your next song.
Main Features
* Creates convincing virtual harmony tracks from a single vocal
* Latest generation harmony technology with robust input pitch detection and smooth harmony sound
* Produces rich vocal harmony and memorable special effects
* Individual voice control of humanization features and more
* Harmony voices can sound like clones of the lead singer or 4 different singers
Official link: http://www.digidesign.com/index.cfm?navid=115&itemid=4833
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