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Sunday, June 06, 2010

112dB Redline Reverb v1.0.3

Redline Reverb is a musical reverb based on a completely new and original concept that excels in both warmth and transparency at extremely low CPU usage. Its core algorithm is based on the Rev-6 and Space Master Reaktor ensembles by Martijn Zwartjes. With its many sound enhancements, an intuitive and attractive new user interface, and much optimized CPU usage, Redline Reverb represents the next generation of these celebrated algorithms.

Redline Reverb is a fully algorithmic and true stereo reverb with possibilities far beyond the conventional—just check out the 112 factory presets for a comprehensive showcase of what it can do. Unlike conventional algorithmic reverbs, Redline Reverb does not need separate plate, hall, and room algorithms. Instead it features a comprehensive yet intuitive parameter set that allows you to easily recreate any given reverb characteristic, leaving you free to create lush smooth vocal reverbs, convincing room simulations, almost infinite reverb tails, synth pad and delay effects, and everything inbetween.

You will find that its separate early/late reverb sections and modulation options make it an excellent choice for expensive hardware-style reverbs, while its extensive tweakability renders it equally suited for more experimental reverb and delay effects.


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112dB Redline Preamp VST v1.0.1

Redline Preamp livens up any "too clean" signal with a customizable combination of even and odd harmonics, saturation, and soft clipping. Redline Preamp is a vintage console channel, a musical grunge machine, and everything in between.

Unique and concise editing options allow for anything from subtle coloration to high-class grunge, from vintage emulation to fattening of digital mixes. A showcase selection of carefully constructed presets ranging from the American Vintage to the full-blown Beyond Repair is included.

Highlight features include proprietary zero-latency tube modelling with detailed harmonics control, three tunable frequency bands with solo listening, and mid/side processing.


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Thursday, May 27, 2010


This is a state-of-the-art digital mastering processor that provides you with a mastering class 11-band equalizer, M/S De-Esser, Mono-Maker and intelligent Bass- and Presence-Shifters, plus extra M/S features, such as Pan for M&S, and Stereo Width Control.

New in v1.09:
3 Modes (M/S mastering, M/S recording, L/R stereo) New and unique “SixPack” Master Section 11-band EQ (TDM, RTAS, VST, AU) incl. Shifter EQs up to 22 kHz
Built-in M/S De-Esser / dynamic EQ (20 Hz - 22 kHz) Precise Correlation- and Balance-Metering Individual Bypass and Link for every feature 4 Presets, Copy/Paste, Undo/Redo for all functions New Auto Solo and Auto Listen modes for TDM & Native Individual PAN for Mid and Side Signals Phase-corrected SOLO-Buttons for L/R/M/S signals Intelligent EQs: Bass-Shift & Presence-Shift Mono-Maker: makes bass frequencies mono only! Extensive metering, individual L/R and M/S LEDs Touch-sensitive Auto Solo: interactive with ICON for solo modes 7-band EQ perfectly matches the center section ICON-EQ Mousewheel control supported for MAC & PC

First Impressions
My first impression of BX Digital is that is a big plug-in in terms of the screen real-estate it takes up. I have two 19-inch LCD screens set at their native resolution of 1280 x 1024 pixels, and the BX Digital plug-in nearly fills one of them. It certainly wouldn't fit on any screen smaller than 1152 x 870 pixels.

Although the M&S support is a big selling point of BX Digital, all the versions other than the Scope implementation can also operate as conventional stereo processors thanks to the Modus switch, which determines whether you are in normal LR or M&S modes. A third setting puts BX Digital into M&S mode but disables the input M&S matrix, and is for signals that are already in M&S format.

After the M&S matrix, your signal encounters the BX1 EQ section. This is a five-band parametric EQ, with low and high bands that also offer shelving options. There are separate Input Gain controls for left and right channels, to help you balance out mixes that are not 100 percent centred, while individual 'M' and 'S' Output Gain controls allow you to control output balance and the stereo width of your mix. There are individual Link buttons all over the plug-in that you can choose to use where appropriate. The TDM version also features low- and high-cut filters.

After the EQ comes the BX2 section, which features Bass and Presence Shift controls. These are 'single knob' controls that boost preset frequencies whilst cutting an adjacent band. There is also an M&S de-esser with adjustable EQ and individual Solo button to monitor the side-chain, so you can hear what is being taken out. A Mono Maker control allows you to take low-frequency content out of the 'S' channel, turn it into mono and put it into the 'M' channel, to maintain the overall bass level while narrowing the stereo field in this region of the spectrum only. This feature is designed to assist in vinyl mastering, where large amounts of stereo low-frequency content are very difficult to cut.

Beneath the BX2 section is a graphical display that shows the effects of the frequency adjustments made in both the BX1 and BX2 sections. Unlike other EQ plug-ins, it's not possible to click and drag in the graphical display to change your EQ settings. Brainworx say that "mastering music is all about making cautious changes to your mix and when we tested BX Digital, working in the EQ panel often led us to making pretty big changes very fast. In the end we also wanted to give you the 'feel' of the hardware as authentically as possible, so we decided to make the EQ panel only a visual guide tool for what you do with the knobs of BX Digital." Personally, I feel this is a mistake. I find adjusting knobs with a mouse from the screen to be a counter-intuitive process. In addition, I would have liked the display to show different coloured lines for the BX1 and BX2 sections, so I could see what each section is doing individually, as well as the overall EQ shape.


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Friday, May 21, 2010

Softube - Trident A-Range VST RTAS v1.0.2 AiR

The Trident A-Range is a legendary piece of equipment. As only thirteen A-Range consoles were ever made, it remains a holy grail for sound engineers and producers around the world that hope to create works of art equal to those that were originally recorded on the A-Range — David Bowie's Ziggy Stardust, Queen, Elton John, the list goes on...

The A-Range plug-in from Softube is the first and only native and TDM plug-in that has been fully endorsed by original designer Malcolm Toft and Trident Audio.

The plug-in is a model of a channel on one of the original 13 Trident A-Range consoles. We chose to model channel 15 from the console at Sweet Silence Studio 'B' in Denmark, producer Flemming Rasmussen's favorite channel for recording lead vocals. Flemming also used it for the solo and rhythm guitars on Metallica's "Ride The Lightning" and "Master of Puppets", and Ritchie Blackmore's guitar on the Rainbow albums "Difficult to Cure" and "Bent out of Shape".

The A-Range channel features four bands of equalization and high and low pass filters. The sound of the bands is often referred to as "colorful" and "musical". When running a hot enough signal through the original unit and boosting the bands, it is possible to get it to distort, the result is a hairy and effective saturation that is just right in some situations, and just wrong in others!

In Short

* Created together with original designer Malcolm Toft
* Each and every component carefully modeled
* Same sweet sounding EQ filters that made the original legendary
* Interaction between the different bands, making this equalizer one of its kind
* Saturation control
* Very CPU friendly


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High precision equalizer/analyzer.
Create and edit filters on top of a high resolution analyzer display.
No compromise quality: 64 bits with oversampling.


64bit internal precision
2x and 4x oversampling
Unique filter stack feature to improve filter results
Output hard- and softclipping built in
Variable number of filterbands (up to 63)
Up to 40 dB gain per filter
Independent stereo & M/S filtering
High resolution FFT analyzer
Large analyzer display with zoom
Graphical editing of filters on top of the analyzer display


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FabFilter Pro-Q is an allround EQ plug-in for mixing and mastering, with up to 24 bands and a gorgeous interface for easy and precise editing.

Unrivalled sound and interface
An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best! As you can expect from FabFilter, Pro-Q gets you the highest possible sound quality and a gorgeous interface with unrivalled ease

Effortlessly sculpt your sound
FabFilter Pro-Q is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them and select and edit multiple bands at once. Try it yourself!

Mixing and mastering features
Pro-Q offers everything that a demanding engineer could wish for: top quality linear phase operation in addition to zero latency mode, Mid/Side processing, variable stereo placement of EQ bands and a built-in spectrum analyzer.

FabFilter goodies
Finally, you get all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, extensive help with interactive help hints, AltiVec and SSE optimization, and much more!

Key Features

* Highest possible sound quality
* Gorgeous interface with large display for easy and precise editing
* Up to 24 EQ bands
* Operates either in zero latency mode, or in linear phase mode with adjustable latency
* Filter shapes: Bell, High/Low Shelf, High/Low Cut with 6, 12, 24 and 48 dB/oct slopes
* Each band can operate on the stereo signals or on the left or right channels independently for per-channel EQ-ing
* Mid/side mode where you can EQ the mid and side signals separately
* Built-in real-time frequency analyzer with Pre- and Post-EQ modes
* Double-click text entry of parameter values
* Different display ranges: 6 dB range for mastering use, 12 dB, and 30 dB for mixing
* Stereo and mono plug-ins available
* MIDI Learn
* Undo/redo and A/B comparison
* Smart Parameter Interpolation
* Sample-accurate automation of all parameters
* Extensive help file with interactive help hints
* Available in RTAS, VST, VST 3 and AU for Mac OS X and Windows

Windows requirements

* Windows Vista/XP/2000/98/Me
* Pro Tools, VST 2/3 host

Mac OS X requirements

* OS X 10.4 or higher
* Pro Tools, AU or VST 2/3 host


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The mpressor plugin is the as close as it can get emulation of our famous
creative compressor. Its all discrete circuitry and its special character
have been translated into software in all the painstaking details by the
specialists from brainworx. The result is an outstanding universal
compressor as well as a dynamics effect machine which will significantly
enhance the potentials of your host software. The mpressor is available in

The mpressor is a new tool for modern dynamics processing. On top of the tried and tested standard features, this creative compressor provides several special functions that produce fat and freaky sounds by employing a punchy control behavior, colorations full of character and extreme settings. Besides classic tracking applications, its favorite domains are groovy effect compression and creative sound design.

Each of both linkable channels offers a switchable Auto Fast function that allows very fast yet distortion-free compression without any artifacts. The Anti Log circuit generates explicit compression effects such as pumping and breathing. As the mpressor is a true feed forward design, it also allows negative ratios which result in the most extreme over-compression effects. The Niveau Filters can change the character of a track from subtle to striking with the possibility of a continuous frequency shift.

The Gain Reduction Limiter is a novel feature that lets the user choose the maximum amount of Gain Reduction he wants to draw from the unit at the twist of a knob. The switchable external sidechain inputs make for further flexibility in terms of compression behavior. The circuit design of the mpressor is completely based on discrete analog technology. The entire signal processing is implemented with single transistors in permanent class-A mode, and even the sidechain and power supply are composed of fully discrete circuits.

An oversized power transformer, capsuled conductive plastic potentiometers, internal temperature stabilizers for critical components as well as special current feedback amplifiers are part of the technical finesse. The combination of these elements aims at the maximum reachable signal quality and guarantees clean and powerful sound characteristics even when extreme settings are used.


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