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.

http://www.stillwellaudio.com/?page_id=17

Bad Buss Mojo

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 <gasp> 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…)

http://www.stillwellaudio.com/?page_id=19

Event Horizon

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!

New for 1.02! Limiter mode adds a new spin to a traditional lookahead limiter that can allow more gain reduction than a clipper, yet still remain VERY transparent. Give it a try. We’ve made it a separate download and plugin name (Event Horizon+) since the VST parameters are different and we didn’t want to break your existing projects. If you are purchasing or have purchased this plugin previously, the same key will work for both plugins…two for the price of one!

http://www.stillwellaudio.com/?page_id=16

Major Tom

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.

http://www.stillwellaudio.com/?page_id=13

The Rocket

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!

http://www.stillwellaudio.com/?page_id=68

Transient Monster

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.

http://www.stillwellaudio.com/?page_id=18

Verbiage

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.

http://www.stillwellaudio.com/?page_id=21

Vibe-EQ

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.

Good stuff. Recommended.

http://www.stillwellaudio.com/?page_id=34

• 29 Sept 09: Snow Leopard compatibility: Beta versions of OS X AU and VST plugins are available which should address Snow Leopard compatibility. Please use all appropriate caution as these are BETA plugins, not full release versions. Find them HERE

* Stereo width slider going from mono to wide, bringing the
stereo image out and towards the listener.
* Loudness control boost.
* Loudness overdrive option.
* Subtle Air & Bass boosters to lift and help the audio ‘breath’.
* Movable 3D interface, with changable colours and light
positions.
* Very low CPU usage.

UpStereo is a simple, useful tool -  it makes your mixes bigger, in stereo width and loudness.
Using three basic basic systems:
1. A fixed frequency EQ designed to lift the highest audio frequencies, and boost the bass.
2. A stereo width unit, for expanding stereo sounds so they appear wider and fatter. At extreme levels other characteristics are also brought out of the sound, so this can also be used as a tonal control for individual instruments.  This also has a mono setting, useful for squashing up those aggressive samples that take over the mix.
3. A Loud switch that raises the waveform to the limits in a smooth curve. This saturation gives the mix a more perceived loudness, without clipping.
There’s also an option for overdriving this effect, distorting the waveform towards the maximum, and can be used to create a raw punch to the sound.

These stages create an overall loudness effect on the final output, so a gain control is included to keep the limits in check.

The main ‘bubble’ display on the plug-in is really a basic meter, when one of the stereo halves flash red, then the output is being clipped. Try and keep the levels so the red flashes only occasionally, this enables the loudness control to work at its maximum.

Colour and light changes are achieved my dragging the central meter-ball, using ctrl or shift to flow through colours. Maximum right/up drag returns the colour to white.

http://www.quikquak.com/Prod_UpStereo.html

* A clean stereo reverb, with an even decay.
* Clear reflected sound, with a fast diffusion build up.
* Intuitively linked Decay, Spread and Distance dials.
* Designed to represent many natural spaces, with minimal complexity.
* Cloud display representation for all time and frequency aspects.
This replaces the usually separate envelope and EQ displays with
one concise image, displaying frequency energy over time.
* Fast editing, for that quick grab effect.
* High quality standards, with low CPU resources.
* Zero latency.

You can dial up any type of space very easily, with the use of Decay, Spread, and Distance parameters – the algorithms create the suitable room simulations for you.
Complete stereo whitening, even at very tight spread settings.
Incredibly light on CPU resources.
It’s subtle, but Fusion Field’s unique algorithm creates a highly diffuse and different sound than a typical all-pass filter reverb.
It’s very affordable – with free updates.

http://www.quikquak.com/Prod_Fusion_Field.html

RaySpace

RaySpace is a completely new acoustic room simulator. This unique reverb creates up to five channels of surround-sound reverb, all calculated in real-time. The characteristics of the room shape, height, positions and materials can all be adjusted while you listen, making RaySpace a very inspirational and spontaneous tool. All reflections are modelled, not just early reflections, and are calculated with speed-of-sound accuracy. The 3D view and the parametric equaliser complete the audio and visual feedback of room designs! With full automation, source and listener positions can be ‘walked’ though the rooms, ideal for patching dialogue in radio plays or films. All impulse responses can be exported in high resolution for use in convolution reverbs. From concert halls to bathrooms, cathedrals to sewers, you can go anywhere you desire!

How does it work?

DBT (Diffuse Bubble Tracing) is a highly efficient algorithm that analyses the entire room in a fraction of a second. It traces ‘bubbles’ at the speed of sound, bouncing off the walls until they hit the listener. The angle they hit determines the pan and surround position they play from. With hundreds of these sound bubbles the listener is immersed in an incredibly rich environment.

Shall we play?

* Create fantastic surround reverbs using the completely unique engine -

Introducing the new DBT (Diffuse Bubble Tracing) system.

* Accurately models sound speed, including phase and interference.

* Draw walls of any angle, allowing complex room shapes.

* Four band parametric equaliser, for complete control of output!

* Ray scattering algorithms for adding randomisation to wall reflections,

giving roughness and character to the rooms.

* Get a real grasp of the virtual space with the 3D ROOM VIEWER. Using

zoom and spin with the mouse – watch and listen to actual height

adjustments.

* Reverb updates almost instantly!

* ZERO latency.

* RaySpace does NOT use convolution algorithms, it’s a completely original

design.

And unlike convolution, long reverb times use the same CPU as short ones,

allowing you to make huge spaces!

* Export impulse response feature, so you can still use your designs in other

reverb units.

* Stereo Width control gives fine adjustments from mono reverb, to ‘beyond’

speaker position spreads.

* Compact size. RaySpace does not need huge resource files to store the

reverbs, as they only take up a few kilobytes each!

* 45 presets for instant tweaking.

* Works with all sample rates.

http://www.quikquak.com/Prod_RaySpace.html

GlassViper

Synthesizer plug-in
* Unique and organic synthesis.
* Wave shaping with 16 LFO’s.
* Continuously changing waveform.
* Easy to edit, basic interface.
* 4 Voices per instrument.
* LFO Envelopes with speed and
gain slopes.
* 4 Delay lines per instrument.
* Reverb and chorus effects.
* Comprehensive copy and
paste features.

General features
* 4 editable waveforms, that can move independently during play.
* 16 independant LFOs for waveform movement.
* 8 bass and treble boost EQs.
* 4 unique waveshapers, with distorted top settings.
* Multiple copy and paste options for quick editing and layering.
* 4 delay lines with BPM syncronisation option.
* 12 LFO’s with independant speed and gain envelopes.
* Multiple ring modulation.
* 4 volume envelopes, with velocity sensitivity for amount and speed.
* 4 filter envelopes, using over sampled biquads with up to 24db slope per octave.
* 4 pitch envelopes.
* Stereo chorus with feedback.
* Fusion Field reverb with simple EQ.
* 256 categorised factory presets.

http://www.quikquak.com/Prod_GlassViper.html

xEQ is a straight forward parametric EQ/Tone Control. It consists of Low and High shelf filters and three Peak/Cut filters. It is very useful for placing around distortion effects. Place before as a tone control and after to simulate a speaker cabinet’s frequency response curve. There are some example presets in the distribution that are useful starting points for tailoring your tone. The presets starting with TC are tone control curves and those marked with an SC are for speaker cabinet response curves.

http://www.musicunfolding.com/muxeq.html

LFX-1310 is a Free plug-in multi-effector including 24 types of algorithm and 3 serial slots. This freeware is the stand-alone version of Effecting Module of Ravity(S) & Ravity(R). Every algorithm realizes the very effect you have on your mind, and is fully optimized for low CPU load.

Specifications :

- 24 types of high-quality effector algorithm
- 3 serial-routed slots
- 128 factory sound presets
- mono or stereo input / stereo output
- 32-bit sound processing
- HLMS™ : Hyper Layered MIDI assign System
for real-time performance and sound editing
- FOEM™ : Fully Optimized Effecting Module

Minimum Requirements :

PC :
- Windows 2000 / XP / Vista (32-bit)
- Pentium IV 1.6GHz or highe
- 256MB RAM
- VST 2.0+ compatible host application recommended

Mac :
- Mac OS X 10.4 Tiger or higher
- G4/G5 or Intel-based Mac (Universal Binary)
- 256MB RAM
- VST 2.0+ or AudioUnit 2 (AU2) compatible host application recommended

http://www.luxonix.com/home/en/downloads.html?id=main

don`t work under Mac OS X 10.6 at this Time

TAL-BassLine

http://www.quikquak.com/downloads.html
]]> http://noisesculpture.wordpress.com/2009/08/01/43/feed/ 0 noisesculpture Bild http://noisesculpture.wordpress.com/2009/08/01/42/ http://noisesculpture.wordpress.com/2009/08/01/42/#comments Sat, 01 Aug 2009 10:18:36 +0000 noisesculpture http://noisesculpture.wordpress.com/2009/08/01/42/ ]]> SSL X-ISM

http://www.solid-state-logic.com/music/X-ISM/index.asp
]]> http://noisesculpture.wordpress.com/2009/08/01/42/feed/ 0 noisesculpture Bild http://noisesculpture.wordpress.com/2009/08/01/41/ http://noisesculpture.wordpress.com/2009/08/01/41/#comments Sat, 01 Aug 2009 10:17:56 +0000 noisesculpture http://noisesculpture.wordpress.com/2009/08/01/41/ ]]> Side Chain Compressor

Side Chain Compressor was developed by Slim Slow Slider for VST windows.
apulSoft ported this plugin to OSX and to the AU format.

This is a Side Chain only compressor which requires special routing.
For VST there are two versions, mono (2 input channels/1 output channel) and stereo (4 input channels/2 output channels). Not all vst hosts support the required routing – Cubase Studio for instants does not. The AU version uses the regular AU sidechain mechanism and detects mono vs. stereo processing.

Download: http://www.apulsoft.ch/freeports/SideCh … _10_28.dmg
]]> http://noisesculpture.wordpress.com/2009/08/01/41/feed/ 0 noisesculpture Bild http://noisesculpture.wordpress.com/2009/08/01/40/ http://noisesculpture.wordpress.com/2009/08/01/40/#comments Sat, 01 Aug 2009 10:17:05 +0000 noisesculpture http://noisesculpture.wordpress.com/2009/08/01/40/ ]]> http://www.yohng.com/w1limit.html