Compressor VST Plugins

LinComp is a linear phase multiband compressor, a tool that belongs in every mastering chain.

Multiband compression allows you to take care of the levels and response times of four frequency bands independently, and the linear phase crossover guarantee that all this happens with no damage done to the audio whatsoever.

Independent threshold, attack, release, ratio and gain controls as well as master faders for simultaneous control let you sculpt the dynamics of your tracks in any way imaginable.

Select the compression type by switching between hard and soft knee, use LinComp as a brickwall limiter with the built-in clipping function, and do A/B tests to find out the optimal setting.

Features

• 4 frequency bands
• Double-precision linear phase band splitters
• Freely variable transition frequencies
• Individual adjustment of threshold, gain, ratio, attack and release per band
• Solo and bypass options for each band
• Built-in brickwall clipper
• Switch between hard and soft knee
• A/B states for easy comparison

PSP FETpressor is a FET feedback type compressor plug-in designed to provide accurate, almost instant compression with loads of character.

Great for vocals, guitars, bass, drums, and whenever a classic 1970s-style FET compressor is needed, PSP FETpressor contains everything you’d expect from a FET compressor: an internal side chain high pass filter to control amount of low frequency pumping, smoothly adjustable compression ratio, ability to select which channel to process, and a link switch.

PSP FETpressor also contains a dry signal blend for fast and easy parallel compression. Additionally, PSP FETpressor contains makeup amplifier and output transformer emulations to add subtle character even when set to a 1:1 ratio.

PSP FETpressor is part of our series of Zero Latency Processing plug-ins; making it ideal for situations such as live monitoring, live broadcast production, and managing levels while tracking.

Features:

• Especially for vocals, guitars, bass and drums
• For precise compression with lots of character
• Sidechain with highpass filter
• Continuously adjustable compression ratio
• Dry signal mixing for parallel compression
• Link switch
• Makeup gain
• Zero Latency Processing Plugin

The Best in Mixing & Mastering

Step into the world of iZotope’s AI software with the Mix & Master Bundle, now featuring Ozone 9 Standard, Neutron 4 Standard and Tonal Balance Control 2.

Create the perfect mix for your track with the complete set of 8 modular mixing tools and prepare your master for release at just the touch of a button. With the Mix & Master Bundle, it has never been easier to produce radio-ready music.

Ozone 9 Standard

Ozone 9 brings the latest advances in audio technology to the world of mastering.

Find the perfect modern or vintage vibe with an expanded Master Assistant, or match to your favorite reference track with the new Match EQ.  Work faster with improved plug-in performance, smoother metering, and resizable windows. Stop wondering if your music is ready for primetime—with Ozone 9, the future of mastering is in your hands.

Features

• Emulate classic analogue EQs or modern digital models depending on your style
• Use Mid/Side mode to correct frequencies in the sides of your audio
• NEW! Enjoy smooth, fluid metering and a resizable window that lets you see more of your sound
• NEW! Two modes for stereoize give you new flavours for widening your track
• Sculpt your image in stereo with per-band widening and narrowing
• Monitor stereo width and phase with new fluid metering
• Seamlessly compare your mix with a reference track at the touch of a button
• Loop specific regions of your references and load up to 16 at once into Ozone
• See your reference displayed in Ozone’s meters for easy visual comparison
• Use Master Assistant to automatically match the tone of your loaded reference tracks
• Make mixes LOUD while preserving dynamics with Ozone’s intelligent limiter
• Intelligent Release Control (IRC) modes react to your sound to reduce distortion and pumping
• Threshold Learn mode intelligently sets loudness to a target LUFS level
• True Peak detection ensures your audio doesn’t clip after export
• Make EQ boosts and cuts that respond to the dynamics of your audio
• Make subtle boosts and cuts that occur only when frequencies are too loud or soft
• Mix and match between seven different types of distortion to add warmth and character
• Use different flavours of distortion such as Tape, Retro, or Tube
• Add different distortion modes on multiple bands to create your own unique tonal balance
• Compress in up to four bands, or with the Detection Filter mode

Neutron 4

Neutron 4 is designed to bring your mix workflows into the 21st century.

Bend and shape your audio to any instrument profile with the brand new Sculptor, create custom presets through machine learning with Track Assistant, communicate across plug-ins in your session with the smartest EQs on the planet, and automatically find and fix masking issues with the most intelligent Masking Meter. With 8 modular mixing tools in one mothership plug-in, it’s the easiest, most intelligent way to bring unrivaled quality and speed to your mix.

Features

• New Interactive Visuals: Resizeable, beautiful, and significantly faster. Dive into analysis tools that enhance your mixing experience and get results with plug-in controls made for humans, not machines.
• Communicate Across your Session: Use the included Visual Mixer plug-in to adjust the gain, pan, and width of any Neutron or Relay in your session.
• EQ with Masking Meter: With a convenient one-window display and smoother metering, Masking Meter is now even better at helping you find and fix competing elements of your mix to create space for your instruments.
• Improved Performance:
  • Neutron on More Tracks: Sessions with Neutron 4 load up to 3X faster than Neutron 2, so you can transform your mix with premium processing anywhere and everywhere.
  • MUCH faster processing: Sessions with Neutron 4 use up to half the memory of Neutron 2. Forget about messing with settings and bouncing in large sessions.
  • Lower buffer size: Neutron 4 sessions use up to a third of the CPU of Neutron 2 at the lowest buffer sizes. Create on the fly at lower buffer sizes without slowdowns or dropouts.

Tonal Balance Control 2

Get decades of mastering expertise in your next session with Tonal Balance Control 2, a plug-in that helps you overcome your listening environment and make the best decisions to achieve a balanced mix.

See the balance of frequencies in your track and compare to 12 different genre targets based on thousands of professional masters, or upload your own audio file to compare to a unique custom curve. Control EQ and gain of other compatible iZotope plug-ins without leaving Tonal Balance Control 2. Whether you need a quick confidence check on a mix, or are struggling to perfect your final master, Tonal Balance Control 2 is essential for any project.

Features

• Create with confidence: Tonal Balance Control 2 is your second set of ears in a session, with 12 target curves representing popular music genres that help you stay on target no matter your listening environment. Load your own audio file to create a custom curve for when you’re looking for a specific vibe. 
• Fix issues in your session: Tonal Balance Control 2 can open an EQ from an iZotope Neutron 4 or Ozone 9 plug-in in your session, so you can fix balance issues from one plug-in window. Tonal Balance Control 2 can also talk to plug-ins like iZotope Nectar 3 or VocalSynth 2, letting you see how your vocal fits into your overall balance.
• Get the complete picture: With improved fluid metering and resizability, it’s even easier to see every detail of your tonal balance. Work in Broad view mode to get a general bird’s eye of your mix, or switch to Fine view to zoom in on tough problem areas. Solo frequencies to hear exactly what’s contributing to your tonal balance, and quickly fix issues on your tracks with improved scaling that makes it easier to work with EQs in Ozone 9 or Neutron 4

Virtual Buss Compressors is a suite of three unique-sounding dynamic processors that are modeled from some of the most classic mix buss compressors in the audio industry.

Careful attention was paid to recreating the unique nonlinearities of the circuit paths that give each compressor its distinct tone – including their transformers, tubes, VCA’s, amplifiers, phase distortions, harmonic distortions and timing. VBC is perfect for adding a professional final touch to your mixes.

FG-Red

This compressor is based on the classic RED-faced compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago. I thought it was odd actually: here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you’ve heard Chris’s mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). The first thing I did was put it on my mix in the settings that Chris showed me… 1.5:1, attack around 10/11 o’clock, auto release, compressing just 2-3db tops. And…. WOW! One of the clearest, punchiest sounding rock mixes I’d ever heard come out of my own speakers. This unit was amazing!!!

FG-Grey

The FG-GREY starts off with a very precise model of the classic British “4000 series console compressor”. I’ve used the hardware model for many years but I never fully appreciated just how magnificent the piece is until studying it during the modeling process. It has a way of being able to tighten and ‘gel’ the components of a mix in ways that can go from fairly transparent in auto-release mode, to very aggressive in manual mode.

FG-Mu

I’ve been lucky enough to hear and use some of the most classic and hard-to-find tube buss compressors on the planet (like the Fairchild 670 and Manley Vari Mu), and let me tell you, there is some real magic that happens when your mix goes through a brilliantly-designed piece of tube gear. The midrange thickens, the lows get tighter and rounder, and the top end opens up with a beautiful sparkle… even better, those harsh upper mid overtones seems to get tamed too. For the FG-MU, we put all of these wonderful qualities into the algorithm. To experience FG-MU for the first time you don’t even have to do any compression, as just going through the processor without any gain reduction will reveal a beautiful open sound due to the modeling of the tube circuit path. Even when I’m using the FG-GREY or FG-RED, I love using the VBC Rack just so I can have the audio pass through the FG-MU!

Manic Compressor was designed from the beginning to be more than just a compressor. It was designed to unleash the power of parallel compression without requiring complex routing in your DAW.

Even with 6 different compressor modes and a comprehensive parallel routing setup, Manic Compressor uses an intuitive interface to get you way more power from your compressor than you’ve ever had before.

Maximum Parallel Power

Parallel compression is a key ingredient that has been used by top mixers for years, but up until now, it has always required complex routing and increased clutter in your mix project to be able to utilize it on every track. Many compressors have a mix knob for blending the compressed signal with the dry signal, but we have found that this just doesn’t give enough control to really make use of the extensive power of parallel compression.

With individual wet and dry faders, along with an intuitive yet powerful EQ section, it won’t take long to recognize how much you’ve been missing out on. After using Manic Compressor on our projects, we realized that we have been missing out on a whole new world that we didn’t even know existed with compression.

6 Different Compressors

Even with so many good compressors out there, we find that it’s cumbersome to switch back and forth between different compressors with different settings trying to find the exact match for your track. With Manic Compressor, you can quickly switch between 6 different compressors without having to match settings.

Because Manic Compressor was designed from the ground up to be used in parallel, we were able to make some compressor modes that really shine in parallel.

Built for Abuse

With Manic Compressor’s innovative parallel design and Loudness Relief, this compressor was built to be abused.  Subtle compression is a thing of that past (unless you want it, of course). Manic Compressor lets you put your settings to maximum carnage and then ease it off with its unique Loudness Relief knob, which softens the compression artifacts even under super heavy load.

Down and dirty, this is our take on the classic compressor.

A vital effect and time tested classic, embellished by our own custom touches, our compressor stands out by having superior display visualization and a very intuitive interface.

Dynamic

Use this plugin to alter the dynamic range of your signals and you will not be disappointed.

Display

As with all of our plugins, the displays we add are in depth and powerful. Our design philosophy is that every knob should have a visible effect, as much as possible we show you the effect every parameter has on the signal.

Filtering

We added a filter to the detector, so you can choose compression that reacts, for example, only to the bass hits. Advanced options, like the auto release, allow you to avoid pumping, or set the release longer and get the offbeat swells that are characteristic of so many techno tracks.

A monster of a channel strip you’ll use everywhere.
The Amplified Instrument Processor is a complete suite of tools designed to help you sculpt the ultimate guitar, bass or keyboard tone.

But the AIP is much more than that.

Its power and versatility make it an excellent processor for virtually any audio task. The AIP can work wonders on vocals, acoustic instruments, pianos, group buses and even across the whole mix.

Parametric Equalization

The AIP has 4 bands of fully parametric EQ based on German Klangfilm tube equalizers of the 1950’s. This EQ combines digital precision and flexibility with analog quirkiness and unpredictability.

• Up to 36dB of boost and cut using gain scaling.
• Independently switchable high-pass and low-pass filtering.
• Switchable response: modern active or vintage passive EQ curve types.
• Circuit age modeling: dial in analog anomalies to simulate aging components.
• Channel Variance: 16 different channels variations model the slight imperfections of vintage handmade equipment.

Proprietary Signal Processing

This is the Secret Mojo Sauce of the AIP. Forget about swapping in preamp plugins. Change characteristics of the AIP by switching between different response modeling and adjusting a slew rate emulation.

• Tube response modeling provides a warm, round tone that’s perfect for bass and male voices.
• Tape response modeling gives your signal low end push and high end sparkle. Great for heavy electric guitars, kicks and snares.
• Solid State response modeling emulates the midrange forward sound of 70’s consoles like those made out in California by companies… that we can’t name… Great for making things in your face.

VCA Compressor

The AIP’s VCA Compressor emulation is based on the classic dbx 202 VCA integrated circuit. This compressor is great for guitars, but smooth and musical enough to work with vocals.

• Full control of all parameters: threshold, ratio, attack, release and makeup gain.
• Switchable position in the signal path — place it pre or post EQ.
• Adjustable nulling – control the amount of color and crunch when the compressor is hit hard.

Frequency Dependent Gain Reduction
The AIP has yet another compressor on it; this one designed to work on selected ranges of frequencies below 600Hz. Clean up the bottom end of chugging guitars, tame resonant bass notes, knock out chestiness on vocals or take the ring out of a kick drum.

Insufferable Midrange Filter
Overdubs and doubling can lead to a nasty build-up in the presence range. This specialized notch filter takes care of the annoying 2kHz “whistle” of electric guitars, vocal sibilance, excessive cymbal hash, and finger squeaks or pick noise from acoustic instruments.

Stereo Widening
Unlike many stereo widening processors, the AIP’s stereo widening algorithm lets you spread things out across the sound stage without sacrificing the solidity of the center. Wrap reverb and ambience around listeners, enhance the movement and sweep of keyboard pads, and put them dual guitar parts at opposite sides of the stage, and then some.

Real Time Analyzer
The AIP’s RTA shows you the frequency response of your signal, and superimposes all of your EQ curves and Frequency Dependent Gain Reduction settings for fast, intuitive fine tuning.

PSP MasterComp is a high fidelity stereo dynamics processor.

Its double-precision 64-bit floating point and double-sampled FAT (Frequency Authentication Technique) processing offers unrivaled transparency even at extreme compression settings and high sample rates.

The PSP MasterComp installer includes two versions of the plug-in:

• PSP MasterComp: Designed for mastering compression and expansion.
• PSP MicroComp: Designed for using on buses and track processing during mixing.

MasterComp Features

• Total high frequency transparency thanks to double sampled processing (excluding output limiter)
• Low distortion due to our optional Smooth Level Detector algorithm
• Optional intelligent automatic attack and release times
• Wide range of controls designed for mastering purposes
• Over threshold compression and expansion
• Advanced side chain filtering, channel linking, and compression tilting controls
• Mix control to allow fine blending between the processed and clean signal
• Optional high quality brick wall output limiter with automatic release time
• Advanced PPM/VU meters with contextual readings and adjustable parameters
• Selectable channel processing: Mid, Side, Left, Right or Stereo

MicroComp Features

• Simple and effective control layout
• CPU efficient algorithm optimized for mixing purposes
• Low distortion thanks to optional Smooth Level Detector algorithm
• Optional automatic release time
• Wide range of controls dedicated for mixing purposes
• Over threshold compression and expansion
• Side chain filtering and channel linking controls
• Advanced PPM/VU meters with contextual readings and adjustable operation parameters

A secret trick to get natural yet powerful sounding compression is to use multiple compressors in series.

FirePresser offers you four of the most iconic analogue compressor emulations in a simple interface, which lets you blend all of them easily and get lush analogue compression to any material in no time.

Fine Selection

Based on long time studio experience, FireSonic has carefully chosen a set of compressors with unique and expressive characteristics and turns those devices into one.

Shortcut to the Finest Blend

FirePresser’s Rainbow Pad gives you control over the amount of presence of every compressor in the chain. Drag just one parameter to achieve the best results. Quick, simple and creative.

Order As You Wish

Of course, the order of the compressors matters. But you may change it in a fragment of a second. Simple dragging the compressors labels lets you re-order and compare in no time.

Fine Tuning with Detector

Although the effect of FirePresser is instant, skilled users may want to use the Detector. That gives you access to advanced features of all engaged compressors at the same time.

Salt and Pepper Finish

The overall effect of FirePresser can be accentuated by dialling the Turbo knob to get more squash and seasoned by pleasant analogue saturation.

Universal Use

FirePresser is equipped with lots of presets for almost any studio situation. In most cases, you will just load a preset and dial Wet/Dry knob to achieve fantastic results. FirePresser is a real time-saver.

Hassle-Free Software Protection

No iLok, no dongle nor internet access is required for activation. Our software uses licence files to activate your software. You can freely use the purchased software on all your computers as long as you are the user.

Realistic 3D Yet Flexible GUI

The photorealistic graphic user interface of the plugin gives you the feeling you are touching the real hardware. But it easily adapts to your needs. You can always drag the arrow in the bottom right corner to change its size – make it smaller to save the valuable screen space, or enlarge it to make it easier to use.

64-bit Audio Quality at ANY Sampling Rate

The plugin provides the maximum audio quality you can get. It uses internal 64-bit audio processing and can handle any sampling rate. 192 kHz or even higher.

Smart Bypass

The intelligent way our plugins manage bypassing ensures that you don’t get any click or harmful noises when automating the parameter.

Two distinct Audio Interfaces: Simple and Advanced!

The Compactor was designed with two objectives in mind: To cater to beginner producers and professional ones as well. Having access to the basic controls in the Simple UI with a handful of presets, lets you dial in your compression in no time without needing to adjust every single parameter since Compactor already does this for you! All you need to do is choose the right preset, turn down the threshold until you get the desired compression, and that’s it!

Simple UI

Designed specifically with ease of use in mind, it’s the ideal tool for beginner producers to get started with compression as this tends to be one of the points that trip them up the most. It’s also a great tool for professional producers who are on a strict schedule and who want to get great results in seconds.

Advanced UI

The THR Compactor’s Advanced UI goes beyond the basics, offering you a wealth of sophisticated tools that provide you with in-depth control as well as a lot of visual feedback of the compression.

Automatic Threshold!

The Auto Threshold feature averages the input level for a second and sets the threshold accordingly. This feature is really useful for transitions between loud and quiet parts since Compactor will keep compressing the signal even if it drops by 10dB or more, and the amount of gain reduction will remain the same even if the input level is significantly lower than before.

This feature works really well in conjunction with the “Limit Gain Reduction” parameter since the compressor will follow the input signal but never overly compress it!

Why use Compactor?

Compression is one of those concepts that is often misunderstood in audio, especially for anyone who is just getting started in their audio production journey. Most Compressor plugins are either too simple, or too complex and advanced, and Compactor strikes the perfect balance:

Beginners can use the Simple UI and rely on the included presets and Auto Gain to get the perfect Compression, while Advanced Users can use all of the in-depth features offered in the advanced section.

Not only that, but Compactor is a great tool for beginners to transition into a more advanced workflow since it offers the best of both worlds.

Fire Up Your Tracks!

FireSonic is UnitedPlugins’ number one enhancers developer. They love to develop smart easy-to-use tools that can be put on any track to make it sound better! Usually, you have to tweak just one knob to hear a significant improvement in your tracks. No matter if you need to tweak your bass, guitar, vocal, drums or the master track, these tools will get you to your goal within a few seconds. The bundle contains FireCobra, an intelligent audio enhancer, FirePresser, four classic compressors blender, FireMaster, the ultimate finisher and FireCharger – the track energizer. 

FirePresser – One to Rule Them All

We modded one of the most classic vintage Opto compressors in history by adding timing & ratio controls plus 4 new tone settings so you can shape your sound to perfection in seconds.

Hot Rod Your Sound

Decide how quickly the circuit responds with Speed, and dial in just the right amount of compression with Ratio. Get all the smoothness of a Classic Opto with the controls you need to hot rod your sound.

Dial In Your Tone

Choose from 4 new custom vibes to breathe life into your mix. Open up your top end with Airy. Take out harsh frequencies with Smooth. Bring snap & punch with Aggro. Add vintage fatness with Warm. The Tone knob is your new best friend.

Dynamic Duo

FG-2A gives you that smooth, classic 2A sound that’s been shaping music for over half a century. Custom Opto goes even further & lets you shape your tracks—including full mixes—to perfection. Together these two Optos give you total control of your mix. And you get them both in the All Access Pass.

If you want your tracks to be energetic, in-your-face and bold, make ’em “Schlap”.

Schlap is a characterful, colourful and aggressive sounding program-dependent compressor. It takes inspiration from hardware RMS compressors of the past and evolves them into a modern setting.

The compressor uses a program-dependent attack and release influenced by old hardware making the compression sound characterful and dynamic.

The RMS detection means that Schlap detects the average loudness of a signal, resulting in sudden short peaks being uncompressed so that they can attack hard and sound heavy hitting. Also inherently in RMS detection, there is a slight delay in compression which allows the initial, early transients to sneak through uncompressed so they keep their punch.

You’ve got a safe, controlled track you think you’re happy with, but you have to ask yourself… “Does it Schlap?”

Features

• RMS Detection; Emulates RMS detection circuitry to create short sharp transients before hard hitting compression kicks in.
• Intelligent Envelopes: No need to think about attack and release settings, the automatic envelopes result in the most colourful sound possible.
• Ratio Variety:  A range of ratio settings: expansion and gating, standard compression, infinite limiting compression and negative over-compression.
• Sidechain Control: Focus the compression using sidechain filtering and/or rhythmically trigger it using external sidechain sources.
• Add Colour: Bring down the compressors headroom by using the colour control to add some tasty harmonic grit. New in v1.1
• Aggressive, in your face compression.
• Program dependent – attack and release settings are automatic.
• 4 ratio styles: expansion and gating, standard compression, infinite limiting compression and negative over-compression.
• Optional external side-chain input.
• Sidechain filtering.
• Inspired by old hardware.

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.

PSP Flow is a new kind of psycho-acoustic compressor that provides exceptional volume consistency without the usual audible side effects associated with heavy compression.

Developed with insights from post-production engineer Paolo Pasquariello PSP Flow uses a psychoacoustic approach inspired by advanced post-production techniques to subtly maintain track level consistency. This ensures that your audio remains naturally dynamic without the perceptible effects of compression. While it was specifically designed for film and TV/video post-production, its unique behavior can deliver excellent results in almost any application, and is excellent at leveling elements in a dense mix.

Features:

• Single-band unique probability compression algorithm.
• Wide compression knee.
• Peak or RMS level detector.
• Optional automatic release readjustment.
• Wide range of threshold and ratio settings.
• Preamp section modeling on input.
• Lookahead for reduction of transients through the compressor.
• Smooth control of the side chain high pass filter and link.
• Optional automatic makeup gain.
• Dry/Compressed Mix control.
• Output brick wall limiter with adjustable ceiling level and release time.
• 64-bit double precision floating point math for ultra-low cumulative errors in the filters and proper filter characteristics across the entire frequency spectrum.

Lift Your Voice

For a vocal to really cut through the mix and ride other instruments, it’s usually a good idea to make sure it’s loud and proud. However, the dynamics of a vocalist’s performance can vary wildly, from softly sung verses to strident choruses. Despite a comprehensive vocal effects chain, with careful volume-riding and compression, you’ll often need a final limiter to clamp down on fluctuating dynamics or to smooth slower phrases.

W.A Production designed Vocal Limiter to be the last step in your vocal processing chain and as simple to use as possible.

It’s specifically developed to target the frequencies of vocal performances so is less affected by overly high or low-frequency content. With multiple speed modes and real-time VU meters, you can use your eyes and ears to find the perfect settings… or just flick through the included presets. With Vocal Limiter you can be sure that your vocals will sit comfortably in the mix and be heard loud and clear.

Threshold

You’ll probably already be familiar with the normal functions of a limiter; set the threshold to clamp down on levels above a certain amplitude. How quickly a signal recovers after this is dictated by the Speed button.

4 Release Speed Modes

Use the central button at the bottom of the interface to toggle the auto-release of the limiter to 4-speed settings. Depending on the performance of your vocalist, each of these settings will give a different effect. Use a slow speed for smoother performances such as ballads and acoustic songs, and fast speed for quicker changes, perfect for vocal chops and raps. Medium speed is suitable for most other kinds of vocal but feel free to experiment and discover the best settings for your particular style. Ultra Slow speed has also been included as a bonus; useful for synth parts and other types of audio that require a more gentle, transparent release setting.

Input & Output

Adjust the Input and Output faders to balance vocals recorded at different volumes and dynamics. These parameters are also useful when used in conjunction with the click and pop-free bypass button, for accurate A/Bing in context.

Visual Feedback

The live VU meters of the interface show exactly what’s happening to your audio signal in real-time. This allows for accurate monitoring at every step of the chain.

Presets

It’s easy to adjust the parameters of Vocal Limiter and since this is such a simple plugin, finding the right settings is so fast. Nevertheless, W.A Production have bundled some of the most useful combinations of settings as factory presets, easily accessible via either the browser or the arrows to the left and right of the interface preset section. Just click these for quick access to curated presets.

Features:

• Super simple vocal limiting
• 4 speed modes
• Input & Output gain sliders
• Real-time VU metering
• Pop & click free bypass
• Responsive & CPU friendly
• Factory presets
• Full PDF Manual & Tutorial video
• Resizable user interface

A distortion effect with five distinct, high-quality distortions.

Mix and match to come up with your own specialized distortion types, ranging from light sweet distortions to heavy, dark or grungy growl distortions.

After the distortion phase is a four band EQ and compressor.

Use these to further shape your sound, bringing out sharper high tone portions or smoother deeper ones. Overdriving the compressor gives you another level of overdrive for an intense, thick sound.

Overdrive 5 features full automation of all parameters, allowing you to create more complex and expressive sounds than possible with manual tweaking. Additionally, save presets and (optionally) share them with other users.

Silky Smooth Top End Without The Harshness

Oxygen uses a unique process to control & enhance the top-end of any track in your mix, with a smooth & musical character you can’t get from EQ.

Different Oxygen Types

3 different Oxygen types to help you add the exact type of top-end you’re looking for – BITE, PRESENCE and AIR.

Sculpt Your Sound

The built-in compressor has 2 modes. PUNCH mode emphasizes the transients & increases the attack of your top-end. SMOOTH mode gives an overall softened dynamic response for a silky high-end.

The CONTROL knob smartly sets the compression of the algorithm applied to the overall sound.

Add Character

The added harmonics and imperfections in the saturation module allow for a richer, warmer high-end that can be boosted without getting tiring to the ears.

The Side Enhancer found in the stereo version of Oxygen allows you to widen the high-end of your tracks. This can work great on stereo busses, giving extra width and shimmer to cymbals, vocals or other sources. 

Custom Producer Presets

Kickstart your process with over 30 built-in presets from professional producers like Henrik Udd, Max Cameron, Forrester Savell, and more.

Key Features

• At the core of Oxygen lies a smooth crossover filter with three predefined and carefully selected cutoff values, to give Bite, Presence or Air to the sound.
• A compressor that consists of two fine-tuned modes which are targeted specifically to work on high frequencies. And a Control knob that is smartly setting the compression of the algorithm.
• The tape saturation circuit is tuned to work great together with the high frequency parts of a signal. The additional added harmonics and imperfections allow to create a warmer high-end that can be boosted further without getting tiring to the ears.
• The Width found in the stereo version of Oxygen allows to boost the side signal of a sound in a very natural way. This can work great on stereo busses, giving extra width and shimmer to cymbals or other sources.
• Preset system with Producer presets included

Gritty. Punchy. Smooth. Warm. All that. And more!

The Pawn Shop Comp 2.0 is a professional tool that will make a huge difference in the quality and impact of your mixes. It sounds great on any sound source and in virtually any application.

More than a compressor, the Pawn Shop Comp also has a fully adjustable tube preamp, a two band equalizer, and swappable components that give you unprecedented control of every parameter of the plugin.

MAIN FEATURES

• Get punch and snap out of individual drums or the entire drum bus. Built in low frequency eq centered at 63Hz, perfect for enhancing the chance of a kick drum. And you can dial in a bit of saturation to mimic the sound of classic FET limiters like the 1176.

• Built for bass sounds. Dial in attack to punch the bass through the mix. Set release to control the sustain and resonance. Some low end equalization to enhance the bottom end, and add some tube style saturation for additional growl.

• Killer on electric guitars. Precise control over note articulation and sustain. Adjust the midrange equalization for presence in the mix. Swap in ECC-83 tubes and get vintage amp overdrive and distortion… from a compressor!

• The PSC is a vocal channel strip, with almost everything you need to get kick-ass vocals. Get smooth tube opto compression, or crush it for color and character. Swap out transformers for tighter or darker response. Add warmth with the preamp, or saturation and drive.

• Add color, character and crunch lead lines, and warmth and harmonic structure to pads. The wide adjustability of the PSC makes it a natural for use with analog or sampled pianos.

• Bus compression with the Pawn Shop Comp… yes, it can do this, too. Give your mix or instrument cluster definition and “glue.” Control the amount of effect with the Wet/Dry control for easy parallel processing. Punch up the top and bottom with the PSC’s inductor based eq.

• Too often, the accordion is overlooked in modern recording… kinda like the cowbell. The Pawn Shop Comp’s preset library is full of places to start when you don’t quite know what you’re dealing with, but know it needs something.

The Compressor: A Modern Classic

A unique hybrid tube/FET circuit lets the Pawn Shop Comp handle virtually any compression task you throw at it. Complete controls for all compressor parameters let you tailor response from smooth to punchy to total crush.

A Tube Preamp
Use the Pawn Shop Comp’s tube preamp to add saturation and the warm harmonic distortion that is the mojo of tubes. But push GAIN even further to add overdrive and distortion, and adjust the BIAS for total shred. The PSC preamp can add character to vocals, hype to guitars and bass, and incredible color to room mics and the drum bus.

Swap Tubes and Transformers
Swap between three different sets of tubes and three different transformers to adjust the response of the Pawn Shop Comp from timid to street thug. Combined with the preamp Gain and Bias, tubes and transformers let the PSC sound like a classic tube limiter from the early 60’s, to modern, high end bespoke compressors, and all shades in-between.

Essential Sonic Sweetening
The EQ can be used to compensate for the loss of lows and presence that happens at high compression settings, and also for more creativity and enhancement. The WEIGHT control can be set for extreme lows (think kick drums) or slightly higher to give a signal warmth. The FOCUS control is centered in the midrange and adjustments in this band can add presence and width to a track. With +/- 8dB of gain, and wide, gentle peaking curves, use the eq to beautifully sculpt a track or an entire mix.

Tweakable like no other
Want to change the compression curves of the PSC? Swap in different FET’s. Want to get a vintage sound? Swap in Carbon resistors.Need something bright and modern? Switth over to Metal film resistors.

Looking to experiment? Crank up the OPERATING LEVEL control and emulate what happens when you blow up gear in the studio – but without the smoke, fire, repair bills or chance of electrocution. And if you go too far, you can back it all down using the WET/DRY control, or the INPUT and OUTPUT trims.

Set the OVERSAMPLING rate to better manage your CPU usage.

Browse the PRESET LIBRARY. Adjust the size of the GUI to fit your monitors and studio set-up. This ain’t no one knob plugin.

Is a chaotic track starting to get to you? Maybe you should make it a little more “Smoov”.

Smoov is a soft, clean and transparent sounding program-dependent compressor. It takes inspiration from hardware compressors of the past with a focus on peak detection, meaning that it can quickly and effortlessly react to incoming signals and blend them in with the surrounding audio field.

When a busy track needs taming, Smoov softly settles your tracks.

The compressor uses a program-dependent envelope influenced by old hardware making the compression sound smooth and dynamic. The peak detection means that Smoov detects the actual amplitude of a signal, resulting in an extremely fast response to tame and control anything that is thrown at it.

You’ve got a big, groovy track you think you’re happy with, but you have to ask yourself… “Is it Smoov?”

Features

• Peak Detection: Emulates peak detection circuitry to quickly and effortlessly react to incoming signals and blend them in with the surrounding audio field.
• Intelligent Envelopes: No need to think about attack and release settings, the automatic envelopes result in the smoothest sound possible.
• Ratio Variety: A range of ratio settings: expansion and gating, standard compression, infinite limiting compression and negative over-compression.
• Sidechain Control: Focus the compression using sidechain filtering and/or rhythmically trigger it using external sidechain sources.
• HF Recovery: Reinvigorate your audio with a high frequency dynamic EQ to make the signal sound more natural and airy.
• Soft, clean and transparent compression.
• Easy to use, finely tuned program dependant algorithm.
• Feature-rich versatile control.
• Inspired by your favourite compressors of the past.