Soundspear

Windows PC ONLY. Not compatible with MAC OS.

Are your leads missing that crisp and sparkling sound that top producers love? Blowfish was built to fulfill that goal.

Blowfish slaps the input signal with a complex chain of distortions and adds a side-chained bright topping on the sound transients. What results is a very sparkling and shiny sound with that crisp garnish that you can hear in professional productions.

A broad range of controls are here to help you tailor the sound you need.

• Dry Wet allows you to blend the original signal with the one at the end of the processing chain, while Out Gain controls the output volume.
• Blow controls the gain of a sidechained bright noise over the transiants of the input signal.
• Sparkles sets the drive for the first stages of the distortion algorithm.
• Brightness controls the intensity for the last stage in the distortion chain which soften the heavily distorted harmonics.

Kick sustains became a techno standard and are tedious to create: sidechained reverb, low-end imaging, compression, eq, distortion… Rumble crafts them faster and better.

Rumble detects spurious frequencies in the low-end and chains several notch filters with specially crafted reverbs to treat them differently. These feedback reverbs can create rumbles ranging from very short to infinite.

The output is equalized, distorted and filtered again using a very steep band-pass filter.

All of those elements are customizable and allow to blend between a very rough and a very smooth rumble.

A broad range of controls are here to help you tailor the sound you need.

• Dry Gain is the output volume of the original, untouched kick.
• Wet Gain is the output volume of the rumble. You can choose either to blend the kick and the sustain directly in Rumble or to output only the sustain in order to post-process it, for instance with sidechain.
• Rumble controls the length of the rumble sustain.
• Filter controls the amount of output band-pass filtering. A higher setting will result in a cleaner rumble while a lower setting will produce a gritty rumble.
• Drive controls the amount of distortion in the last processing stage. This distortion is only applied to the wet band-filtered signal, hence this knob will only be effective if the FILTER knob is not set to zero.

The S1 uses a VCA detection circuit on a selected frequency band to detect the signal peaks and boost the stereo spread accordingly.

The image will be made wider during high-energy transients to prevent phase knockbacks.

You can choose and blend between different imaging algorithms, from haas delay or classical mid-side equalization to the emulation of SRS transfer functions.

The input signal is first fed to a detection circuit that reacts to the average loudness of the song, where:

• Threshold controls the minimum peak detection,
• Speed controls the intertia of the moving average from the detection circuit,
• Low Pass allows to filter the input detection signal with a biquad low pass filter.

This detection circuit is used to dynamically adjust the stereo image of the sound:

• High pass and Low Pass allow to reduce the stereo adjustments to a single frequency band,
• Peak gain is the stereo gain that will be applied when the detection circuit hits his maximum value,
• Circuit allows to choose and blend between different imaging algorithms: binaural delay (Haas), head-related transfer functions (SRS) and mid-side boost (M/S).

A post processing step allows to adjust the final render:

• Makeup applies a negative makeup gain to compensate the induced stereo variance by reducing its average value,
• Comp reuses the input detection circuit to apply a touch of VCA compression to the signal sides.

Vacuum Tubes are the Holy Grail of audio processing. Why rely on tailored emulations when you can craft your own tube circuit?

Supertube is a variable-gain compressor that uses a triode as an amplifier, whose characteristics are fully customizable.

From tube geometry to electrical abilities, you can choose how your tube behave. Those features will affect tube color, distortion and clipping, compression scaling, recovery and punch.

In Supertube, your audio signal flows through a tube triode from its cathode to its plate (amplification). The same rectified signal is sent to the triode’s grid for dynamically limiting the output gain (vari-mu compression). Hence, the amplification stage generates warm tube coloration, while the optional compression stage offers an organic tube compression.

Many tube intrinsic characteristics can be modified. No electronical background is required, as the effect of every of them can be easily heard by ear.

Moreover, 13 presets are here to get you started.

• Plate voltage: Tube distortion comes from a non-linear relation between their input and their output. Increasing the tube’s plate voltage will increase the plate load and make the non-linearities steeper as well as giving earlier distortion.
• Charge capacitor: Voltage in a tube can drop completly, causing blocking distortion. A bigger charging capacitor will increase drop recovery time which will make the distortion more noticeable. This setting also increases cathode bias to make voltage drops more frequents.
• Transconductance: Transconductance will increase the gain reduction caused by the grid, hence making the compression more violent.
• Tube Geometry: Various physical characteristics of the tube change the way it warms the sound: glass geometry, gas type, grid spires… This setting allows to blend between two tube blueprints that sound the radically different.
• Output Impedance: The grid stopper impedance increases grid gain excursion time, resulting in a sharper compression.
• Grid Resistor: The grid resistor alters globally how the grid will react to the input signal, scaling its attack with its release time and increasing the compression recovery.

Standard knobs allow you to modify the digital behavior of the plugin:

• Dry Wet allows you to blend the original signal with the one at the end of the processing chain.
• In Gain and Out Gain control respectively the input and the output gain.
• Threshold allows you to kick-off the compressor by making it react below a gain threshold value.

Missing the richness and feel of pre-1950 tape recorders?

Aloha re-creates the body of the oldest and slowest tape devices ever! The colour is preserved while the unwanted artifacts are reduced to the bare minimum.

A broad range of controls are here to help you tailor the sound you need.

Features:

• Dry Wet allows you to blend the original signal with the one at the end of the processing chain, while Out Gain controls the output volume.
• Sweet controls the speed of the tape device in inches per second.
• Body lets you adjust the amount of harmonics and pitch flutter.
• Topping controls the compensation gain for the high-end.

Very often, an instrument sounds great but feels empty when put in a mix. Myst is an easy way to add depth and thickness to a sound.

The input signal is fed to a chain of slapback delays, colored around one frequency band. The resulting sound is expanded and distorted a little.

This processing chain adds a body to an instrument and adds character.

Myst really stand out when used with bass instruments by making them thicker, but can also be used with leads and pads to add a colored atmosphere.

A broad range of controls are here to help you tailor the sound you need.

• Dry Wet allows you to blend the original signal with the one at the end of the processing chain, while Out Gain controls the output volume.
• Depth controls the number of chained delay units.
• Color sets the amount of post-process distortion and equalization.
• Cutoff controls the frequency of the lowpass filter used to reduce the amount of delay in the high frequencies.

Luxor is the key if you want an instrument to stand out and spread in the mix.

It will scoop your high frequencies to the edge of the stereo field using a sidechained haas effect, while the mid-highs will be made bright with a in-house tape distortion algorithm. The resulting signals will be glued together using an adaptative broadband compression.

Luxor can be used from 10-20% to 80-100% wet, whether you want to unleash the power of a lead, or to gently highlight a pad.

A broad range of controls are here to help you tailor the sound you need:

• Dry Wet allows you to blend the original signal with the one at the end of the processing chain, while Out Gain controls the output volume.
• Width controls the intensity of the haas effect on the upper-end of the spectrum.
• Character sets the amount of tape coloration and broadband compression.
• Color changes slightly the cutoff frequency of the Linqwitz-Riley fitlers used to split the spectrum into different bands which will be processed with different parameters.