1937 - Character Equalizer

The Neve* 1073 is probably one of the best large-format console channel
modules ever made. Punchy, detailed.it was almost impossible to make it
sound bad.for its time. Let.s not debate about large chunks of iron and
wax/paper versus electrolytic caps.let.s talk about the sheer genius
involved in picking the proper EQ frequencies, bandwidths, and slopes. THIS
is where 1973 is coming from.not an emulation, but a tribute. Taking the
best features and reducing them down to their essence.then making it
utterly transparent and smooth. Dial in some high end. No, more than
that.c.mon, more. What? Are you afraid of that knob or something.GIVE IT A
TWIST, I SAID! Magic. THAT.s what separates the men from the boys in EQs
like this.the ability to drop in staggering amounts of smooth, detailed HF
boost without shredding eardrums.

Bad Buss Mojo - Waveshaping Warmth

How to describe this? Well, I guess we.ll just settle for this: sometimes
digital is just TOO perfect. I.m not going to say .sterile. or .lacking
soul., because I.d wind up eating my words sooner or later.but sometimes
you just want a little grit.a little dirt.a little imperfection. That.s
where Bad Buss Mojo comes in. Bad Buss Mojo allows you to dial in specific
tweaks to a virtual mix buss amplifier. Is the + rail a little low? Dial it
in.PSU not quite as stiff as it could be? Dial in a bit of knee in the
bend. Old-school transistors or even tubes? Dial in some nonlinear
modulation. It.ll go from .I can.t hear that you.ve done anything, but I
like it. all the way up to .Why did you run my mix through a guitar amp?.
Highly recommended (the plugin, not running your mix through a guitar amp.)

Bombardier - Buss Compressor

Bombardier is our most ambitious project to date . a premium quality buss
compressor, tailored for smooth and musical processing of complex audio
such as drum groups, vocal stems and your full stereo mix, lending a
controllable sense of weight, fluidity and cohesion.

Bombardier gives a nod to the non-linear and frequency-variant subtleties
of a wide range of Grade-A hardware buss compressors, and should you wish
these can be pushed almost into the realms of a character compressor.

Due to its RMS compression engine (and unlike The Rocket, which uses peak
compression), Bombardier is ideally suited to final mixdown and mastering
usage, as well as for those who like to set up buss dynamics first and then
mix .into. the buss compressor.

Bombardier.s party piece is the new and unique .bomb. processing algorithm
which, when selected, gives attack and release settings that are
effectively instantaneous while yielding exceptionally smooth gain
reduction. Bomb mode is sure to become a firm favourite with mastering
engineers the world over, but can also give extremely satisfying results in
single track and buss applications

Five different and highly effective pre-emphasis filter modes vary
Bombardier.s response to the frequency spectrum and are key to preserving
transparency during full-mix compression.

Bombardier is very flexible, offering forward/feedback topologies, variable
and automatic release behaviours, sidechain operation, parallel processing
and variable gain reduction range limiting. Choosing appropriate settings
for the task at hand is critical to getting the best out of Bombardier, so
a full range of well chosen presets are provided.

Event Horizon - Peak Eating Limiter

Event Horizon is a .Peak-Eating Limiter..huh? Well, maybe a better
description is that it.s a clipper with an optional soft-clip circuit. By
truncating waveforms short of where the DAC would go into clipping, you can
get VERY transparent loudness increases; unlike most limiters, Event
Horizon does this with ZERO pumping, ZERO transient or frequency artifacts,
and with ZERO latency. Now, it may not let you be louder than the latest
.flavor of the month. .mastering. limiter, but within its range of
operation, you WILL get an unsurpassed natural sound. Its output is what
comes into it.only louder. If you push it too hard, it will tell you in no
uncertain terms that this is no longer the right tool for the job. Give it
a try.it.s fantastically easy to use, and it sounds great!

Major Tom - Program Dependant compressor

Major Tom is not your ordinary compressor, no sir! It was designed with
very specific goals in mind, and blew completely past them. We like Major
Tom.can you tell? Major Tom is intended to be easy to use: there are no
attack and release controls.the values vary depending on the level of the
signal relative to its threshold. These values are very finely tuned to
make it as musical as possible, without requiring a wall full of gold
records to hit the right settings. The attack/release settings are inspired
by one of the true .stealth. vintage compressors, the dbx* 160. You may not
hear about it much, but you.ve heard it on records time and time again.
Musicality: That.s the second key. Major Tom WILL pump, but it should do so
in a musical, rhythmic manner. Put it on vocals gently for smoothing.nice.
Put it on bass, but don.t go overboard.buttah. Put it on drums and go
berserk.SMACKIN.. If you pull lots of gain reduction, it.s going to turn
into a savage, funky, living, breathing, pumping instrument of destruction,
but use it gently and it will be nice and transparent, adding a subtle
gloss to your tracks. Those looking for utterly transparent gain reduction
need not apply

The Rocket - Character compressor

The Rocket is a character audio compressor, singular in its extraordinary
speed, responding in mere microseconds to variations in program level.
Being in the order of several thousand times faster than most ordinary
compressors, we respectfully submit that The Rocket kicks like a mf.

Violation of the laws of physics and digital signal processing remain
beyond us at this time, and a single sample at 44.1kHz has a span of 22.6
microseconds. The Rocket.s attack time can be below this level, for
absolute certainty that even the very first sample understands that you are
its master. Placed on the master bus, The Rocket will effortlessly tame
transients almost in the manner of a brickwall limiter.

Discussions of Science and Art are played out within The Rocket .s
.Impetus. circuits, where warmth and aggression exist as DSP, able to take
the delicate, musical gain reduction to the extremes of dirty, heavy and
slamming rock.n'roll misbehaviour. Aw hell, The Rocket can rock so crank it
up

Transient Monster - Fiendishly Defined Impact

This is simplicity itself. It will save your drum mixes. Two controls:
Attack, and Sustain. I would explain more, but you know.I really don.t have
to. Put it on your drum buss. Turn the knobs.you WILL understand, and you
will thank me later. Okay, okay.have you ever had a drum performance that
was REALLY laying down the groove, but the recorded drum sound just didn.t
SNAP? Turn up the attack. Need those ride cymbals to really ring instead of
just dying down into the mush? Turn up the sustain. Too much bleed and ring
getting into your drum tracks? Turn DOWN the sustain. See? I knew I didn.t
really have to explain it to you.

Verbiage - Lush Reverberation

Before convolution reverbs, there were Lexicon, Yamaha, Eventide.hmm. Seems
like all the REALLY good reverbs were around way before everybody got the
convolution bug. This isn.t a convolution reverb.it.s an algorithmic reverb
put together the old-fashioned way.from your basic ones and zeroes. It.s
extremely controllable (try changing the room size and damping of your
average reverb impulse.doesn.t work, does it?), and very flexible. Separate
control over early and late reflections, stereo or mono in (input mix),
stereo or mono out (width), flip wet output channels for cross reverb (very
cool for panning mono instruments and letting them fill a space without
getting overly wet), high-pass filters, gating.it.s all there. This is NOT
the reverb you would use to emulate a physical space (that.s what
convolution reverbs excel at), but this is a true gem for sweetening tracks
with reverb.adding that special shimmer to tracks that you can.t really get
any other way

Vibe-EQ - Colour. Shape. Texture

This is one of those mythical plugins that makes things sound better just
by plugging it in. Really. Unlike 1973, which is a very pristine EQ plugin
(but a VERY good EQ, all the same), Vibe-EQ is all about color. The more
boost or cut you dial in, the more color and funk you get. This may not be
your go-to EQ every time, but you.ll wind up using it more often than you.d
expect.

CMX - Stereo Microshifter

CMX thickens and enhances monophonic audio by doubling the signal and
applying small amounts of pitch shift and/or time delay to each side.

This technique is often applied to vocals or lead lines. With a light hand,
CMX can add just enough fullness to give a part extra presence in a mix.
With a heavier hand, CMX can create a rich and polished .expensive
production. sound. The added presence is especially effective in musical
styles that make minimal use of reverb.

CMX uses a new, unique pitch identification and shifting algorithm from
Schwa that is designed and optimized for small, precise pitch shifts, from
one cent to a quarter-tone, with perfect phase coherence and maximum
smoothness. You can use CMX on exposed, high-quality vocal tracks with
complete confidence

Dyno - Threshold-Driven Dynamic Editing

A threshold-driven dynamic envelope editor. A radically new way to gain
total control over dynamics: it.s a transient designer, compressor,
expander, sound designer, and more. Adjust an intuitive graphical detection
circuit to capture transients and waveform peaks, and draw high-order
Bezier curves to edit peak dynamics. Use Dyno for anything from adding a
little snap to a snare drum or a little sizzle to a cymbal, to morphing a
bass line into a crazed rhino pump. All in real time, with amazingly low
CPU use

Olga - Virtual Analog Synthesizer

Olga is a virtual analog synthesizer unlike any other, designed from first
principles to be distinctive.

Imagine a handmade experiment from an unlikely place, a synthesizer so full
of life and character that it earns the right to be called a musical
instrument. Olga encourages risk, experimentation, and exploration, and
rewards you with unexpected and exciting sounds, vibrant and human. This is
the dusty gem you could spend your life searching for.

Bezier Antialiased Dynamic Analog Synthesis System: Olga uses a truly new
approach to DSP waveform generation to emulate glorious analog
imperfection. Olga.s free running oscillators are in a constant state of
structured variability, a deeply musical instability, free of aliasing
artifacts and light on your CPU.

Gaussian Reactive Oscillator Overdrive Virtual Engine: Throughout Olga.s
signal path, levels can be pushed through saturation and into full
overdrive, with a thickness that develops organically, breathing life and
character into your music

Oligarc - virtual Analog FX

Oligarc is a collection of four world class virtual analog FX, tied
together by a modulation nerve center that converts the input audio into
control signals that can be routed to most of the effect knobs. Oligarc can
be an LFO-driven filter, an envelope-controlled phaser, a gate-triggered
saturation effect, or anything else you can think up, including mad
combinations of linked modulation of multiple effects at once.

In addition, the Oligarc package contains standalone versions of the Drive,
Phaser, and Chorus effects, for more traditional usage . although there.s
nothing traditional about these effects

Psychodither - Psychoacoustic Noise Shaping/ Bitreduction

God.s Own Dither. A breakthrough adaptive algorithm reacts in real-time to
the signal audio to preserve the maximum possible dynamic range at any bit
depth. Select a dither color and dial in psychoacoustic noise shaping power
to choose exactly the right hardness or softness for your final renders.

schOPE/ MicroschOPE - Multiscope tool

schOPE! A multitool, multiview, multichannel waveform, frequency, and
stereo phase analyzer that lets you superimpose and view multiple audio
signals from every dimension.

Scope pre- and post-compression signals together to see if you.re
flattening peaks. Scope kick drum and bass together for EQ scooping. Scope
DI and amped guitar signals together to fix phase problems.

Isolate and zoom in on exactly the part of the signal you want to see.
Freeze the display and use the time offset knobs to visually scrub
frequency changes

Sculpto - Real-time Dynamic Editing

Draw Bezier curves over your audio waveform to create envelope shapes to
follow or clip to. Clean errors, sharpen transients, or design entirely new
sounds. All in real time, with amazingly low CPU use

Spectro - Real-time Spectral Editing

An intuitive, real-time spectral editor. Draw boxes to add or subtract
gain, mute, or solo specific frequency ranges. Clean up accidental room
noise, remove harmonic bleed, perform surgical EQ, de-ess, or get creative
and combine additive filters for some truly wild effects. It can be
anything from a scalpel to a bludgeon. All in real time, with amazingly low
CPU use

TinMan - Intelligent Resonator

TinMan is an auto-peaking resonant filter with multiple pitch detection and
individually triggered attack/decay envelopes. In other words, it listens
to your audio and makes matching spooky wooo-eeee-oooo effects.

TinMan uses a new polyphonic pitch detection algorithm to isolate and rank
the strongest pitches in the input audio. For each detected pitch, a
separate resonant filter, or resonator, is peak-matched to that exact pitch
(even if it.s off-key), and an attack envelope is triggered. If a pitch
slides, the resonator.s resonant peak will continue to track it. If a pitch
ends, the resonator will release until fully quiet

Oligarc Filter - Virtual Analog Effect

The Oligarc Filter is a sophisticated emulation of a classic analog ladder
filter, complete with nonlinearity, instability, character, good looks, and
dange


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