channel-strip

Top 27 Channel strip VST plugins 2020

We have collected for you the top 27 VST plugins Channel strip according to PluginBoutique.

VST list navigation:

  1. Neutron 3 Elements
  2. 6050 Ultimate Channel Strip Native
  3. Goliath
  4. UltraChannel
  5. Analog Channel Native
  6. 6060 Ultimate Module Collection Native
  7. 6050 Ultimate Channel Strip HD
  8. American Class A
  9. Tube-Tech Complete Collection
  10. Neutron 3 Standard
  11. Summit Audio Grand Channel
  12. Solid State Logic XL 9000 K-Series for Console 1
  13. Channel G Native
  14. Chandler Limited® Zener-Bender for Console 1
  15. Softube Chandler Limited® Zener-Bender
  16. 6060 Ultimate Module Collection HD
  17. SSi Pro Channel v3
  18. Slam Pro
  19. Slam XL
  20. Neutron 3 Advanced
  21. Analog Channel HD
  22. Channel G Compact Native
  23. Channel G Compact HD
  24. Channel G HD
  25. Weiss Complete Collection
  26. Fat Channel XT
  27. Channel Strip Collection

1.Neutron 3 Elements

by iZotope

Neutron 3 Elements - User Interface (Compressor)

From the makers of popular audio plug-ins like RX and Ozone, Neutron 3 is designed to bring your mix workflows into the 21st century. The completely new Neutron Elements includes 4 powerful tools for great mixes for less than the cost of a single plug-in. At $129, it’s the easiest way to get your feet wet with all the tools Neutron has to offer and add some serious power to your plug-in collection. It’s the easiest, most intelligent way to bring unrivalled quality and speed to your mix. 

Neutron 3 packages the latest advances in audio and passes them on to you—so you can focus on your craft.

4 plug-ins for the price of 1

Neutron Elements includes an EQ, Compressor, Transient Shaper, and Exciter built with an obsession for great sound. Pick from hundreds of professionally designed presets or go totally manual with confidence that you’re on your way to a great mix.

Machine learning that listens

Neutron is the first-ever collection of mixing plug-ins that can listen to audio and suggest a custom preset to fit your taste. Just select the intensity, and Track Assistant will identify instruments and suggest settings in the signal chain that compliment what it hears—in under 10 seconds.

Touch your audio

Resizeable, beautiful, and faster than ever. Dive into analysis tools to enhance your mixing experience and get results with plug-in controls made for humans, not machines. 

Features

  • 4 modern tools for great mixes: Compressor, Exciter, Transient Shaper, and EQ—now with Soft Saturation mode. 
  • Track Assistant listens to your audio and creates a custom preset for you based on what it hears.  
  • EQ with intellect: EQ Learn auto-detects frequencies that need your attention. 
  • Beautiful, smooth visualizations and a resizable interface invite you to step in and take control.

System Requirements

Operating Systems:

  • Mac: OS X 10.11.6 El Capitan – macOS 10.15 Catalina
  • PC:  Win 7 64-bit (Latest Service Pack) – Win 10

Plugin Formats:

  • AAX (64–bit), AU, VST2, VST3
  • All formats are 64-bit only.

Supported Hosts:

  • Logic Pro X, Pro Tools 12 – 2019, Ableton Live 9–10.1, FL Studio 20, Reaper 5, Cubase 10, Studio One 4, Adobe Audition CC 2019, Adobe Premiere Pro CC 2019, Digital Performer 10, Nuendo 10, Reason 10.

2. 6050 Ultimate Channel Strip Native

by McDSP

6050 Ultimate Channel Strip Native

Please Note: This product is the Native version. You can purchase the HD version HERE.

The 6050 Ultimate Channel Strip has everything you need to make your mix sound great. All the modules from the award-winning 6020 Ultimate EQ and 6030 Ultimate Compressor plug-ins are included. Additional modules include gates, expanders, signal saturators, and specialized filters.

The 6050 Ultimate Channel Strip has input and output stages, wrapped around 3 module bays in which any of the 28 modules can be inserted. Easily drag and drop any module to rearrange the signal flow of your channel strip. A module selector panel allows quick auditioning of equalizers, compressors and additional effects. Like the original 6020 and 6030 plug-ins, each new module in the 6050 draws on classic and modern designs over the last four decades. Operation is simple and intuitive, and the sound quality is what professionals worldwide have come to know in McDSP plug-ins.

Artist Presets included from: Mike Dean, Bob Horn, Neal Avron, ROCAsound, John Feldmann, Aaron Harris, and Lovy Longomba.

Features

  • Over 25 EQ, compressor, gate, expander, saturator, and filter modules
  • Easy drag and drop, on the fly module auditioning
  • Side chain support
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

New Modules

S 671

Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to taylor the ‘edge’ added by the S671 to a variety of applications.

Moo-D

If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

D-100

In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

MEF-1

The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

E404

A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

EZ G

Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

FRGX

Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable signal chain filtering is included.

iX

The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


3. Goliath

by Tone Empire

Goliath

Tri-Colour – Saturation / Dynamics / EQ

Transformer, Tube & Tape Saturation with Envelope Follower & Analog Modelled EQ

Analog Behavior

The signal path of analog audio running through solid state, tube and tape gear yields what we call a “Dimensional Analog Sound”. Besides the saturation that occurs in the analog world, the sounds also get naturally “compressed” and bumped or reduced in certain frequencies. Hence in order to accurately model analog outboard, we modelled and provide on this plugin, the ability to choose type of saturation, an envelope shaper and an analog modelled equalizer. This makes Goliath a true “Analog Mojo Box”.

Tone Colors

Choose from Solid State (Silver), Tube (Gold) & Tape (Titanium) saturation with the Tone selector. Silver brings a clean style saturation, with Gold you get more grit and edge, and Titanium brings the tape harmonics and punchy saturation to your audio. You can go from very subtle sounding to edgy. Increase apparent loudness without raising peak levels, and make your sounds cut through in a mix, or add a nice warm glow. These 3 very distinct flavours give you plenty of tone control additionally with the “Input/Drive” control and the “Roof” control. Easy to dial in the sweet spot and details you want.

Envelope + EQ

The Envelope and EQ become the final but invaluable piece of tone shaping tools. Looking for aggressive drums with punchy sustained sound? Or hard-edged “attacky” vocals? This section lets you mould the sound shape you desire using the “Motion” control going from “splat” to “sharp”. Thin out pianos, strings & guitars with presence and air, or thicken up synths, bass guitar, kick drums etc. Detailed tweaking allowed on this one to dial in the sweet spots. Blend in this processing with your dry sounds using the wet/dry mix control.

Mode 2

Now introduces a new mode 2, this makes the processor less “sensitive” and allows very subtle and accurate dialling in of saturation via the input/drive controls.

System Requirements

Mac:

  • macOS High Sierra 10.13 or later (Catalina Supported – 64-bit only)
  • VST / AU / AAX (64-bit host required)
  • AMD Ryzen or equivalent
  • 2 GB RAM / 300 MB HD Required
  • Screen resolution: 1024×768

Windows:

  • Windows 10 (64-bit only)
  • VST / AAX (64-bit host required)
  • AMD Ryzen or equivalent
  • 2 GB RAM / 300 MB HD
  • Screen resolution: 1024×768

Important note: this software is 64-bit compatible only and will not function on 32-bit systems.


4. UltraChannel

by Eventide

UltraChannel

UltraChannel

Professional Audio Engineering For All

UltraChannel™ is a high-precision channel strip that includes several feature-packed versions of Eventide’s legendary effects, all in one plug-in. Whether mixing or mastering, regardless of genre, UltraChannel is the ultimate tool to make your tracks and mixes come to life. It not only has industry benchmark performance but is also the most versatile channel strip available due to our exclusive FlexiPath™ routing, which allows processors to be ordered based on desired workflow.

The Secret Sauce of Mixing

UltraChannel shines in carving out space for any instrument or vocal to sit just right in the mix. There is an infinite number of ways to generate the exact tone, dynamics and frequency characteristics you’re seeking. Additionally, through its support for side-chaining, you can use an alternative audio source to colour the characteristics of your main signal. It wouldn’t be an Eventide if it didn’t also feature micro pitch functionality (from our flagship H8000 hardware) to thicken or increase the stereo spread of any instrument or vocal.

Features

FlexiPath™

Allows drag and drop for reordering the signal path of the top-level components (O-Pressor, compressor/de-esser, EQ, Gate) for ultimate flexibility and experimentation.

Soft-Saturation and Transformer Emulation

The output module of UltraChannel contains a model of an analog transformer which can be driven into saturation. When subtly used, it provides distinction for signals of low-frequency content. When driven hard, it recreates classic transformer core saturation.

O-Pressor

Comes with two built-in compressors, one with de-essing and side-chaining, the other is the unique O-Pressor. Derived from of our legendary Omnipressor™, the O-Pressor adds character and extreme compression to your signal-processing arsenal.

5-Band Parametric EQ

Covers the entire audio spectrum allowing you to edit the Frequency, Gain, and Q of each of the 5 bands.

Over 200 Presets

Includes wide range of Factory Presets, many created by Eventide artists, tailored to signal sources such as guitar, bass, kick drum, snare, piano, strings, synths and vocals. They make exploiting UltraChannel’s enormous processing power easy to deploy.

Micro Pitch Shift & Stereo Delays

Apply Eventide’s patented pitch shifting to any source and control the panning and delay spread. Runs in parallel with a pair of delays that allow you to feed its signal back into any of the other modules.

Countless Applications

Producers

UltraChannel can replace several plug-ins at once, allowing you to minimize CPU loading while still giving you full sonic control over every aspect of your tracks.

Mix Engineers

Carve a unique space for each element of a song through selective EQ, gating, and tempo-synced delays.

Sound Designers

Change the entire feel of an instrument through filtering, pitch shifting, delays, or aggressive compression.

Artists Using UltraChannel

Andre Kelman

(Beastie Boys, Phoenix, Gogol Bordello, Cat Power)

Headsnack

System Requirements

PC

  • Windows 7+ (32/64-bit)

Formats:

  • AAX 32/64-bit
  • VST2 32/64-bit

MAC

  • macOS 10.7+ (64-bit only)

Formats:

  • AAX 64-bit
  • AU 64-bit,
  • VST2 64-bit

Notes:

  • We test our desktop plugins in Ableton Live, Cubase, FL Studio, Logic Pro, Pro Tools, and Studio One. However, our plugins should work with any compatible host.
  • New 32-bit macOS installers are no longer being made for this product.
  • No iLok dongle is required to run this software – only a FREE iLok account/Manager is required for authorisation of this software.

5. Analog Channel Native

by McDSP

Analog Channel Native

Note: This product is the Native version. You can purchase the HD version HERE.

Analog Channel emulates the sounds of high-end analog tape machines, tape, and channel amplifiers.

Analog Channel is 2 plug-ins:

  • AC101 – Emulates analog channel amplifier circuits
  • AC202 – Emulates analog tape machines

The AC101 configuration acts as a digital pre-amp allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio “sits” in the saturation/compression region, and even the attack and release times of the distortion character are adjustable.

The AC202 configuration emulates analog tape machines. In addition to standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization, AC202 offers controls well beyond the limits of the reel-world devices including adjustable low frequency roll off and head bump – independent of playback speed. The user can select from several playback head types, tape formulations, and even control the tape saturation recovery time.

Features

  • Library of presets emulating analog mixing systems
  • Real-time display of saturation curves and calibrations
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


6. 6060 Ultimate Module Collection Native

by McDSP

6060 Ultimate Module Collection Native

Note: This product is the Native version. The HD version is also available.

The 6060 Ultimate Module Collection contains the largest collection of processing options of any module-based plug-in available. The 6060 includes over 30 unique modules for EQ, compression, saturation, distortion, specialized filtering, dynamic range expansion, gating, and more. Custom modules include bass optimized biasing for the larger than life low end, transformer-based tone shaping circuits for high end shine, tape simulation, de-essing and new EQ and compression designs.  Additional modules are already in the works.

The 6060 allows up to six modules to be operated at once. Modules can be arranged in any order and swapped on the fly using the module selector panel, or from the popup menu in each module. Any combination of modules can even be split into two separate signal paths for some serious parallel processing.  

The 6060 also includes updated compression algorithms not available in the 6050 Ultimate Channel Strip or the original 6030 Ultimate Compressor. Improvements include feedback and feedforward processing, and the rare option of negative compression on a few select modules.  

The 6060 is indeed, the ultimate module collection.

Features

  • Largest collection of processing options of any module-based plug-in
  • Easy drag and drop, on the fly module auditioning
  • Split Mode operation for two separate parallel signal paths
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

Modules

BC23

Based on a more ‘traditional’ English design, the British C-23 (BC-23 for short) module offers control for threshold, ratio, attack, and recovery. Internal circuit smarts help prevent unwanted distortion, even at extreme compression settings (low threshold, fast attack and release). As found in several of the compression modules in the 6060, there is also a feedback compression mode.

BOB

The Bass Optimized Bias module is designed for making low rumble really rumble. Over 24 dB of low end boost is available at the selected frequency. Signal levels below the selected frequency are actually reduced, so that the boosted low end is better focused. A Squash control can provide some frequency selective compression near the boosted low end frequency, at a selectable recovery rate. Two bias modes offer additional tone flexibility.

British-E

McDSP’s own FilterBank plug-in, originally released in 1998, harnessed the fundamental design characteristics of the Neve line of equalizers, most notably the 1069, 1073 and 1081, with its unique Peak, Slope, and Dip controls. The British E module uses this same FilterBank technology to create an amalgamation of great Neve equalizers. The classic hpf, low shelf, parametric, high shelf combination makes the British E module useful for most mixing situations.

C671

The C671 module is a variation of a Fairchild 670, with slightly faster signal tracking to accommodate modern production styles, and yet still imparts a ‘warmth’ into the audio output. The McDSP C671 is sonically identical to the original C670 module from the 6030 Ultimate Compressor plug-in, but includes its own makeup gain, as do all the other 6060 compression modules. For this reason, all the compression module name enumerations are increased by ‘1’ to note the addition of the makeup gain in each module.

D-100

In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

D359

The D359 module is the most aggressive compressor in the 6060 Ultimate Module Collection plug-in. An LED style GR meter is also used to show as much dynamic range control response as possible. Feedback (and feedforward) compression modes are offered, as is the (did we mention dangerous?) negative compression mode.

E300

While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

E301

While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

E357

The E357 is a 3-band EQ meant to work in tandem with the D357 compressor. The slopes are steeper than most other EQ modules, and have a bit of character (like the D357). Use with caution.

E404

A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

E671

Fairchild made not only great compressor/limiters, they also put out a few program equalizers. The Fairchild 664, a two band EQ, served as the basis for the E670 design. Gentle low and high shelving EQ, complimented by a mid band parametric, give the E670 a smooth sound, but the three bands (each with its own gain and frequency control) provide flexibility expected in the modern studio. Suitable for subtle adjustments in any mixing situation.

EQ’76

This 6060 module draws from the UREI 545 parametric equalizer. The EQ’76 has four bands of paramtric equalization with a slight Q-gain dependency. The EQ’76 design is close to that of the E300/301 modules, but using a different set of frequency ranges and a more modern gain-dependent bandwidth design.

EZG

Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

EZQ

The folks at dbx did not release any parametric equalizers to match their classic compressor product line. But if they did, here at McDSP we think it would have sounded like the EZ Q. Using a high pass filter to crave out the rumble, plus capable low and high shelfs, and a fairly flexible parametric, the EZ Q gets the job done.

FRG EEE

What else can compliment a compressor nicknamed ‘The Frog’ (FRG444 from the 6030 Ultimate Compressor plug-in) than an equalizer with a name like FRG EEE (pronounced ‘froggy’). Two parametrics bounded by a high and low shelf pair, the FRG EEE is a capable equalizer, not unlike what is seen in modern channel strips in analog mixing consoles.

FRG446

The FRG446 module, commonly referred to as ‘The Frog’ by McDSP engineering staff, uses an moderately aggressive compression design to quickly respond to audio input. As with other 6060 compression modules, feedback (and feedforward) compression modes are offered, as is the dangerous negative compression mode.

FRGX

Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable side chain filtering is included.

GC-1

Gate and Compressor are often combined, so why not put both into a single module? Lo the GC-1 is born!

Use the Gate section to remove room tone or unwanted background noise. There is up to 48 dB of rejection provided by the Range control, and an extra fast response characteristic can be enabled with the FAST button. There is also a preset hold time enable by the HOLD button.

The Comp section takes the output of the Gate and applies some dynamic range control. The compressor in the GC-1 is the only compressor that offers an Auto attack/release mode.

The GC-1 is great for a snare or kick that has too much room tone but also needs to be squashed and then turned up. The GC-1 is also suitable for vocals, and plenty of other acoustic instruments where you don’t really want to hear all of what has been recorded!

iC2

The iComp module is an all original McDSP design. Attack and release times are not available on this module, and are instead automatically updated based on user selected threshold and ratio control values.

iQ

The only two-band equalizer in the 6060 collection, the iQ is surprisingly adept at fine tuning mixes in any music genre. Tracks needing some low end ‘glow’ or high end ‘sheen’ can benefit from use of the iQ module.

ix

The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.

MEF 1

The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

Moo-D

If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

MOO Q

All tube designs are known for a warm tone with tons of headroom. The Moo Q delivers these qualities and more in a three band package.

MT2

The Moo Tube module emulates an all tube design with a few unique twists. Mid range sensitivity has been modified by McDSP engineering, attack and recovery times are gentle yet usable for many applications, and the output frequency response is variable based on the amount of compression.

Opto-C3

The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

Opto-L3

The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

Over EZ3

The Over EZ3 module incorporates a smooth knee response with a flexible control configuration including user selectable threshold, ratio, attack, and release. New additions in this module include the feedback compression mode, and the rare and ‘careful how you use it’ negative compression mode.

When the negative compression mode is enabled, the LOWEST compression ratio is infinity to 1. As the compression ratio control is increased, the actual compression ratio DECREASES (-100:1, -10:1, -2:1) towards a final compression value of -1 to 1. At this maximum setting, for every 1 dB of signal level increase, there is a 1 dB REDUCTION in output level. Any amount of negative compression causes pumping and breathing in output levels, and when used with fast attack and release times, creates plenty of signal distortion. Negative compression is a feature to be used carefully.

PDQ

The PDQ module is a specialized EQ circuit that offers a boost (Peak) and cut (Dip) at a selected frequency. This Pultec-like operation has a sound all its own, and can take the user in another tone direction that a standard EQ would not. The ‘WIDE’ mode for each band will displace the boost (Peak) and cut (Dip) gains further from each other. Also note the default values for the PDQ gains is +/- 6 dB, implying they were intended to be working simultaneously. But by rotating the Peak or Dip knob fully to the left, their effect on the gain response of the EQ is minimized.

S671

Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to tailor the ‘edge’ added by the S671 to a variety of applications.

Shine

Although the idea of artificial intelligence (AI) is relatively new, the use of an AI-based computer model to synthesize new algorithms has been around for a long time. The SHINE module uses such an AI based approach to approximate some McDSP engineered frequency curves.

The AI topology used in the SHINE module is derived from the transfer function of a transformer. But instead of simply trying to reproduce the incoming signal accurately at the output (ie transform it), McDSP engineering applied some tone bending savvy and came up with 2 modes and 2 lift curves per mode for some interesting high-shelf-like polish for incoming audio signals … aka ‘Shine’!!

SOS

The SOS (Same Old SSSSS) module is a finely tuned de-esser. The module name is also a nod to SOS Magazine reviewer Sam Inglis’ request for a de-esser. I guess SOS could also stand for “De-SSS for Sam?

The SOS module also offers a Low Cut mode to reduce plosives and other low-end noise common in vocal and dialog tracks. The SOS HF+ mode puts more de-essing sensitivity into frequencies approximately 1 octave above the selected de-essing frequency.

SST’78

The SST’78 module is a solid-state circuit model with a McDSP designed key circuit. For the curious, SST does not stand for Super Sonic Transport. The SST’78 features feedforward and feedback compression modes, as well as a negative compression mode. Because the SST’78 is capable of very fast attack and release times, caution is advised when engaging its negative compression circuit.

TAPE

The TAPE module builds on the famous (or infamous?) McDSP Analog Channel AC202 module, but with a new design for emulating tape compression and playback response. Tape head bump and roll off are user selectable, as is the repro-head type (Modern or Vintage). Tape formulations are based on the Quantegy GP9 and Ampex 456. Tape compression is largely controlled by signal level going into the TAPE module input, however there is also user selectable tape compression via the ‘Comp’ control. Overall tape compression amount is displayed in dB.

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


7. 6050 Ultimate Channel Strip HD

by McDSP

6050 Ultimate Channel Strip HD

Note: This product is the HD version. You can purchase the Native version HERE.

The 6050 Ultimate Channel Strip has everything you need to make your mix sound great. All the modules from the award-winning 6020 Ultimate EQ and 6030 Ultimate Compressor plug-ins are included. Additional modules include gates, expanders, signal saturators, and specialized filters.

The 6050 Ultimate Channel Strip has input and output stages, wrapped around 3 module bays in which any of the 28 modules can be inserted. Easily drag and drop any module to rearrange the signal flow of your channel strip. A module selector panel allows quick auditioning of equalizers, compressors and additional effects. Like the original 6020 and 6030 plug-ins, each new module in the 6050 draws on classic and modern designs over the last four decades. Operation is simple and intuitive, and the sound quality is what professionals worldwide have come to know in McDSP plug-ins.

Artist Presets included from: Mike Dean, Bob Horn, Neal Avron, ROCAsound, John Feldmann, Aaron Harris, and Lovy Longomba.

Features

  • Over 25 EQ, compressor, gate, expander, saturator, and filter modules
  • Easy drag and drop, on the fly module auditioning
  • Side chain support
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

New Modules

S 671

Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to taylor the ‘edge’ added by the S671 to a variety of applications.

Moo-D

If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

D-100

In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

MEF-1

The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

E404

A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

EZ G

Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

FRGX

Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable signal chain filtering is included.

iX

The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


8. American Class A

by  Softube

American Class A

American Class A

Dream Big, Sound Bigger

Gut-busting drums. Crackling, searing, face-melting guitars. Meaty, punching bass. Rich, up-front vocals. Wide-open, airy, living electronics. If you will it, it is no dream with the American Class A.

Based on the greatest classics of American mixing console hardware, this channel strip is fast and easy to work with, and brings a truckload of character to the party.

With a shape section featuring gate and transient designing, a stellar four-band EQ with proportional Q and range control, a fascinating compressor design which can be switched between feedback and feedforward operations, and a warm, crunchy output drive section, no modern studio is complete until this sonic option is at hand.

The American gear on which this strip is based is perhaps best known for the way it brings out the power and energy of modern rock music; acts such as Radiohead, Soundgarden, Foo Fighters, and Pearl Jam have used similar consoles.

Drums leap out of the speakers, vocals grab you by the scruff of the neck, guitars spontaneously combust. But the American Class A is also capable of subtlety.

Using the range controls of the EQ to limit the gain boosting and cutting to a half or even a quarter of the starting values, it becomes a high-resolution mastering unit. And running a synth sound through these same hard-rocking controls can result in improved openness and vitality just as easily as an increased grunt.

This plug-in also seamlessly integrates with Console 1 as a channel strip, so anyone using a Console 1 will have the added benefit of Console 1’s analog workflow and features.

Don’t spend another second longing after that ideal sound. Get the American Class A today. Dream big, sound bigger.

In Short

  • American mixing console sound, for Console 1 or as a standalone plug-in.
  • One license for both the Console 1 version and the native plug-in.
  • Characteristic stepped EQ with proportional Q values. Gives bold boosts and clean cuts.
  • Unique compressor design, which can operate in feedback or feedforward topologies.
  • Cutting-edge graphics and waveform visualisations offer all the information you need.
  • Shape section has both gate and transient shaper, with all the same tasty analog sound of the strip’s circuitry.
  • Crunchy drive from the output stage, with controllable character.
  • A real and complete workhorse replacement for stock DAW mixing tools.

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​


9. Tube-Tech Complete Collection

by Softube

Tube-Tech Complete Collection

Everything Tube-Tech – Colour, Character, and Completion

Tastefully warming and saturating any sound source with its tube-stages, and gently levelling them with its slow, smooth compression, the Tube-Tech Classic Channel is not a typical strip.

Comprised of three separate units, the passive tube-driven PE 1C and ME 1B ‘Pultec’-style equalizers and the world-famous CL 1B optical compressor, it brings warm, punchy analogue sound to any production, and represents the very best in quality and versatility available for the modern DAW-based studio, or anywhere else for that matter.

Epic Analogue Sound

This Mk II version of Softubes beloved Tube-Tech Classic Channel benefits from all the sonic improvements to its component parts – a ground-up remodel of the CL 1B, and revamped EQs using Softube’s very latest signal processing technology.

Slick Channel Strip Workflow

Using channel strip-plug-ins can emulate the analogue console workflow in a pleasing and time-saving way. A consistent sound and approach on every channel is often the best route to a stellar mix in the box.

Seven Plug-ins Included

Includes Classic Channel Mk II, individual Mk II plug-ins (Tube-Tech Mk II equalizer and CL 1B Mk II compressor), and all Softube’s legacy Tube-Tech plug-ins (Classic Channel, PE 1C and ME 1B equalizers, and CL 1B).

Long and Happy Partnership

As long ago as 2006, Softube formed a partnership with Tube-Tech of Lydkraft, Denmark, and began work on what would become the definitive plug-in representations of Tube-Tech’s best and most highly-prized analogue hardware units.

In 2018 Softube released the updated Mk II versions; a total ground-up remodel of the CL 1B compressor, and a single combined EQ plug-in, taking advantage of Softube’s latest signal processing technology. Softube also added stunning high-resolution graphics and additional features to make the best even better.

Improved Control

Building on the success of Softube’s original Tube-Tech plug-ins, Softube added features like parallel blend and side-chain low cut to the CL 1B.

Further to that, mid/side processing opens the Classic Channel up for the first time to serious applications of stereo-image management; compress and EQ your kick and snare differently from your overheads, for example, for a wider or more compact drum mix. Or in mastering, gently balance the vocal against the rest of the track by low-cutting the detector circuit of the ‘mid’ portion of the signal and homing in on exactly what you need.

Spectacular Graphics

You might think the way a plug-in looks is immaterial. But size and resolution on a modern display can be a big factor in user experience. The Tube-Tech MkII collections all use Softube’s very latest high-resolution graphics standards to match up to their extraordinary sound quality. Even on the biggest, most impressive screens, these units look sharp, clean, and real, so you’re always in the moment.

What is the Classic Channel?

The Tube-Tech Classic Channel (the heart of the Complete Collection) combines the CL 1B optical compressor with the PE 1C and the ME 1B, two complementary tube-driven passive equalizers.

The CL 1B is a modern classic for good reason; across genres, it brings warmth through its tube stages, transparent operation on transients through its quick attack, and smooth, musical levelling due to the slow reset characteristics of its gain reduction element. With the equalizers, you can shape the sound of a track, a bus or a whole mix within seconds. The highs sound smooth and gentle, the mid-range airy and focused, and the lows full and fat.

Features

  • The Tube-Tech Classic Channel — perhaps Softube’s best-loved plug-in emulation of analogue hardware.
  • A ‘Pultec’-style low and high-end equalizer.
  • Mid-range equalizer with the same passive, tube-driven design.
  • The CL 1B optical compressor – a modern classic in a plethora of genres.
  • Improved sound, with a total, remodel of the CL 1B, along with an update to the EQs using Softube’s latest signal processing technology.
  • New features – mid/side processing, and in the CL 1B, side-chain low-cut filters and parallel blend.
  • Spectacular new high-resolution graphics.
  • Legacy plug-ins included.

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​


10. Neutron 3 Standard

by iZotope

Neutron 3 Standard

The Modern Way to Mix

From the makers of Ozone and RX, Neutron 3 will bring your mixes into the 21st century with new assistive audio technology, new interactive visuals, and faster performance.

We’re Transforming Mixing

Neutron 3 packages the latest advances in audio technology and passes them to you, so you can focus on your craft.

Start your Track

Neutron’s Track Enhance seamlessly detects and molds your instrument sounds with tools like the new Sculptor module.

Sculptor Module

The be-all, end-all of audio goodness. For sweetening, fixing, and even creative applications, Sculptor is like having an army of EQs and compressors working tirelessly to shape your track. Choose from 25 unique instrument profiles to shape your instrument into a totally new version of itself.

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 3 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 3 use up to half the memory of Neutron 2. Forget about messing with settings and bouncing in large sessions.
  • Lower buffer size: Neutron 3 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.

Neutron 3 Modules

Sculptor

Remove resonance and add excitement to your tracks with the ultimate hands-off audio tool.

Transient Shaper

Change the contour of your sound and control attack and release with this mixing secret weapon.

Exciter

Add modern character or warm, vintage grit with our Exciter module.

Gate

Add impact and energy to your audio with our flexible multiband gate.

Compressor

Fit your tracks perfectly in the mix with our swiss-army-knife compressor.

Equalizer

Auto detect frequencies and remove masking with our intelligent EQ.

System Requirements

Operating Systems

  • Mac: OS X 10.11.6 (El Capitan) – macOS 10.15 (64-bit only)
  • Windows: Windows 7 (64-bit) (Latest Service Packs) – Windows 10 (64-bit)

Plug-in Formats

  • AU, AAX, VST2, VST3. All formats are 64-bit only.

Supported Hosts:

  • Ableton Live 9—10, Cubase 9.5, Digital Performer 9, FL Studio 12, Logic Pro X, Nuendo 8, Pro Tools 10—12, Reaper 5, Reason 10, Studio One 3—4

11. Summit Audio Grand Channel

by Softube

Summit Audio Grand Channel

Combining the smooth operating EQF-100 parametric passive equalizer with the mild but authoritative TLA-100A compressor, Summit Audio Grand Channel is a highly versatile channel strip that will cover a large part of your mixing needs.

The Grand Channel combines the warm and smooth tone sculpting Summit Audio EQF-100 Full Range Equalizer with the rich sounding and dead-easy-to-use Summit Audio TLA-100A Compressor. Having the two combined in a single plug-in makes adjustments easier, as you will often find that the compressor affects the equalizer and vice versa. By default, the sound reaches the equalizer before the compressor, but you can easily reverse the order with a single switch.

When the EQF-100 and TLA-100A were designed, Summit Audio made sure to combine the finest of what vintage tube designs had to offer with a modern sense of how these units should stand the test of time. The result was remarkable, and today you can experience the Summit Audio grandeur in digital form, just reach for the Grand Channel! As a modern addition to the classic TLA-100A, the plug-in also includes Parallel Compression, Saturation Control and Low Cut Filtering on input or detector.

Features

  • Flexible and easy to use with huge sonic range
  • Individual bypass for each of the two units saves CPU power
  • Change the order of the equalizer and compressor with a single switch
  • Each and every component carefully modeled
  • Extremely analog behavior of frequencies, phase, distortion, attack, release, etc

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com.


12. Solid State Logic XL 9000 K-Series for Console 1

by Softube

Solid State Logic XL 9000 K-Series for Console 1

Important Note: This product requires Softube Console 1.

Solid State Logic XL 9000 K represents a completely different approach to analog circuits compared to the SL 4000 E channel, included with Console 1. And since XL 9000 K has virtually no distortion of its own, the Softube channel also includes a model of SSL’s famous VHD (Variable Harmonic Drive) circuit.

While Solid State Logic’s SL 4000 E is widely considered a great pop and rock’n’roll console with its slightly gritty and forward sound, the circuit design of XL 9000 K offers an extreme bandwidth, minimal phase shift and super low distortion. This makes it one of the world’s most popular analog consoles for hip-hop and R’n’B, where the solid, deep low end and extended highs work great for getting that hyper-modern, large and wide sound. For the same reasons, it is also loved for classical and acoustic audiophile recordings.

VHD model included

XL 9000 K is a very clean console. In order to still have the option of using distortion creatively, we added a model of Solid State Logic’s VHD (Variable Harmonic Drive) circuit, which is part of the Duality series consoles and Alpha channel preamps. The Drive knob on Console 1 determines the amount of distortion, and the Character knob moves the added distortion from 2nd order (more tube-like) to 3rd order (more transistor-like), or any in-between blend—just like on its analog counterpart.

Extended gate and compressor options

Furthermore, the Shape section of the XL 9000 K for Console 1 features a fully controllable gate unit, where the Punch and Sustain knobs control Range and Hold levels. This makes it more individually controllable compared to the SL 4000 E model, where a fast workflow was prioritized. The compressor can be switched between Peak and RMS modes, which gives a wide range of options. The equalizer is clean, smooth and natural.

History

When the first 9000 series console came out in in the mid-1990s, it represented a breakthrough in analog circuitry design. The sound path is entirely capacitor-free, in order to keep a perfect signal integrity and low distortion. The XL 9000 K was the last and most developed version of the 9000 series, released in 2002. It is this version that forms the backbone of Peter Gabriel’s RealWorld Studios, Wyclef Jean and Jerry Wonda’s Platinum Sound, while Michael Brauer uses a slightly older 9000 J in his room in Electric Lady Studios.

Features

  • Wide, large, smooth sound
  • VHD (Variable Harmonic Drive) model added
  • Extended gate and compressor features

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

  • This product requires Softube Console 1.
  • Make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​

13. Channel G Native

by McDSP

 

Channel G Native

“From the sheer number of jobs it can perform to the broad range of sonic ground it can cover, Channel G comes very close to being the only plug-in you ever need to do great mixes.”

Tape Op. Tape Op is a bi-monthly American recording magazine that focuses on creative recording techniques.

Please Note: This product is the Native version. You can purchase the HD version HERE.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Channel G is 3 plug-ins:

  • G Dynamics – a fully featured console style dynamics section with an Expander/Gate, Compressor/Limiter, and a versatile filter section
  • G Equalizer – a five-band professional grade console style EQ with a versatile filter section
  • G Console – a combination of the G Dynamics and G Equalizer configurations

All Channel G configurations feature calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Features

  • Multi-mode filters (high pass, low pass, notch) with selectable slopes of 6 to 24 dB/Oct
  • Full-featured Expander/Gate, Compressor/Limiter
  • Five-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


14. Chandler Limited Zener-Bender for Console 1

by Softube

Chandler Limited® Zener-Bender for Console 1

The unique Chandler sound for Console 1.

A powerful and musical modern channel strip with the unique vintage sound of Chandler Limited®. The Zener-Bender for Console 1 combines the crisp and colourful character of the Curve Bender mastering equalizer with the big, punchy Zener Limiter to bring class, history, and most crucially of all, a phenomenal sonic impact.

Component-modelled with Softube’s customary care and experience, these units together can take charge of any mix. The Zener-Bender for Console 1 is included in the Zener-Bender channel strip collection.

The Punchy Dynamics of the Zener Limiter

A versatile and powerful compressor/limiter with punch and power to match its tasteful distortion.

The Colour of the Curve Bender

An extremely musical and characterful mastering equalizer. Can be subtle or drastic, but always makes things sound better.

Classic Sound, Modern Workflow

More than the sum of its parts, the Zener-Bender is a uniquely vintage-sounding powerhouse with modern flexibility and workflow, especially when coupled with the hands-on control of Console 1.

Legendary Circuits, Reimagined

Chandler Limited® is one of the most respected modern hardware names in the industry. Founder Wade Goeke, with the permission and endorsement of Abbey Road, has reimagined and expanded upon circuits from consoles used at the legendary studio in some of its most creatively and commercially fertile times. The units which comprise Zener-Bender, Zener Limiter and Curve Bender, are based on desks used in the production of The Beatles and Pink Floyd, most notably the 1969 TG12345 and the 1974 TG12413.

Wade’s modern units featured updated and expanded feature sets, and have been used on records like Lemonade and 4 by Beyoncé, Lady Gaga’s Born This Way, Pink Martini by The Strokes, The White Stripes’ Icky Thump, and many more. A partnership with Softube has been slowly cultivated with after-hours beers, conversation, and karaoke at trade shows the world over, paving the way for Softube’s meticulously component-modelled plug-ins.

A New Flavour for Console 1

The Zener-Bender brings a fresh new sonic edge to Console 1. Both vintage and surprisingly present, its musicality is perhaps its most notable feature. Both units are created first of all with a mind for making music, and only employing the math that’s required to achieve the results, rather than revelling in tech for tech’s sake.

Unusual components, including germanium and zener diodes, create a sound world not heard in Softube’s other Console 1-ready channel strips, while the architecture of these units emphasizes power, punch, clarity, and colour. Combining by default with the SSL 4000 E-series shape section, and employing the Zener’s Total Harmonic Distortion (THD) circuit as a drive section, this becomes something very special very quickly.

Zener-Bender Native: Chandler Times Four

There is also a native version of the Zener-Bender, for use without Console 1. This option is a collection that includes four plug-ins: Zener-Bender, Zener-Bender For Console 1, and also Curve Bender and Zener Limiter as individual plug-ins. Combining the units into one plug-in channel strip allowed us to add a few workflows not possible in the hardware – External Sidechain input, and Mid/Side Processing.

The Anatomy of the Zener-Bender Channel Strip

Filter Section

The filter section uses Curve Bender’s filters, which are also available in the EQ section if you set the EQ Type on the Low or High band to Cut.

Shape Section

Rather than imagining a shape section out of thin air, or guessing based on components of the Chandler Limited® units, the gate and transient shaper for the Zener-Bender Console 1 channel comes from the SSL SL 4000 E-series strip. It’s a surprisingly powerful workhorse. Use it well and your mixes will raise the roof.

Equalizer Section

The Curve Bender’s low and high pass filters are applied to the input section, before the Shape, but can be used in the EQ section too by selecting Cut in the high or low bands. The mixing and mastering gain options are all represented, with subtle clicks of half a dB possible as well as bold 15 dB boosts and cuts.

Compressor Section

The Ratio knob becomes the curve selector, giving you the choice between the Zener’s Comp 1, Comp 2, and Limit modes. Softube combined the input and output gain functions into a single threshold knob without any compromise on the authenticity of the sound.

Drive & Character Section

The Zener Limiter’s THD circuitry is the basis of the strip’s drive section, bringing meaty distortion where required. The Drive Character parameter controls an optional high-mid emphasis or de-emphasis.

Features

  • The sound of the Chandler Limited® Zener Limiter and the Curve Bender Mastering Equalizer combined in one channel strip for Console 1
  • The historic EMI/Abbey Road sound from the late 60s realized by Chandler Limited®’s hardware and reimagined for a modern studio context
  • Expertly modelled by Softube
  • An entirely new sonic flavour for the Console 1 ecosystem
  • The units the Zener-Bender For Console 1 is based on were used on modern classic records by Beyoncé, The White Stripes, and Lady Gaga by some of the world’s top engineers
  • Also available as part of the Zener-Bender collection.

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​


15. Softube Chandler Limited Zener-Bender

by Softube

Softube Chandler Limited® Zener-Bender

Vintage sound, modern combo.

A powerful and musical modern plug-in channel strip with the unique vintage sound of Chandler Limited®, the Zener-Bender combines the crisp and colourful character of the Curve Bender Mastering Equalizer with the big, punchy Zener Limiter to bring class, history, and most crucially of all, a phenomenal sonic impact. Component-modelled with Softube’s customary care and experience, these units together can take charge of any mix.

A Powerful Channel Strip

Two vintage-sounding units, full of heritage and trusted by some of the world’s top engineers, combined into a focused channel strip workflow.

The Big and Punchy Zener Limiter

A versatile and powerful compressor/limiter with punch and power to match its tasteful distortion.

The Crisp and Colorful Curve Bender

An extremely musical and characterful mastering equalizer. Can be subtle or drastic, but always makes things sound better.

An Imperial Family Tree

Tracing the heritage of the Chandler Limited® Zener-Bender is like discovering an imperial family tree. Its roots are in EMI consoles, used at Abbey Road from the 60s onwards to record some of the most seminal albums of all time, by the likes of Pink Floyd and The Beatles. And right up to the present day Curve Bender and Zener Limiter are being used in both hardware and plug-in form by top producers and engineers across records by world-leading artists such as Beyoncé, Lady Gaga, The White Stripes, Foo Fighters, Taylor Swift, and more. The influence of the Chandler sound cannot be overstated. It shapes the world it rules.

What’s included?

Zener-Bender

The native plug-in version of the Zener-Bender, apart from combining the heritage, colour, and character of the Zener Limiter and the Curve Bender in one impactful channel strip, is special for its plug-in-only features.

Digital audio and software flexibility allow us to offer External Sidechain input, Mid/Side Processing, and Channel Linking. Clean up your low end in the center of your soundstage while gently calming your cymbals out wide. Bring a vocal to the front, even at the mastering stage, without damaging the tracks supporting it. You’re in charge of just about everything.

Zener Limiter

The TG12413 Zener Limiter was conceived by Chandler Limited® designer Wade Goeke, to continue the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413.

It’s a powerful, punchy-sounding dynamics workhorse, which brings character without being difficult. It’s a favorite of top mix engineers like Tony Maserati and Joe Chiccarelli, as much for its versatility as for the mojo it brings.

Curve Bender Mastering Equalizer

The Chandler Limited® Curve Bender mastering equalizer is based on desk circuits from the world-famous Abbey Road Studios in London, used to create albums of genuinely legendary status, such as Dark Side Of The Moon by Pink Floyd, and Abbey Road by The Beatles.

The Curve Bender has more bands (four, compared to the original console’s two), more fixed filter points (a huge fifty-one, up from just nine, chosen and designed in the image of the original circuits by Chandler Limited® founder, Wade Goeke), more Q and gain options, and added low and high pass filters, making the unit a mastering powerhouse without sacrificing the exquisite analogue sound-flavour which made it a leader.

Zener-Bender For Console 1

Softube’s hybrid hardware/software mixing system, Console 1, also benefits from the wonderfully unique vintage sound of the Zener-Bender, with its own bespoke version of the channel strip included with the native version, or available on its own.

Console 1 is a highly intuitive hardware control system for Softube’s fantastic-sounding software mixing tools – especially complete channel strips – and with every new strip Softube release, the flexibility and freedom grow. The Zener-Bender, in particular, opens up new sonic ground to Console 1 users, with its classic yet wonderfully modern tonal quality.

Features

  • Zener Limiter and Curve Bender combined in one channel strip
  • The historic EMI/Abbey Road sound from the late 60s realized by Chandler Limited®’s hardware and reimagined for a modern studio context
  • Expertly modelled by Softube
  • Includes four plug-ins: Zener-Bender, Zener Limiter, Curve Bender and Zener-Bender for Console 1
  • Units used on modern classic records by Beyoncé, The White Stripes, and Lady Gaga
  • Plug-in exclusive features: External Sidechain, M/S Processing, Channel Linking Zener-Bender
  • Console 1-ready: the individual plug-ins can be used within the Console 1 mixing ecosystem.

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​


16. 6060 Ultimate Module Collection HD

by McDSP

6060 Ultimate Module Collection HD

Note: This product is the HD version. The Native version is also available.

The 6060 Ultimate Module Collection contains the largest collection of processing options of any module-based plug-in available. The 6060 includes over 30 unique modules for EQ, compression, saturation, distortion, specialized filtering, dynamic range expansion, gating, and more. Custom modules include bass optimized biasing for the larger than life low end, transformer-based tone shaping circuits for high end shine, tape simulation, de-essing and new EQ and compression designs.  Additional modules are already in the works.
The 6060 allows up to six modules to be operated at once. Modules can be arranged in any order and swapped on the fly using the module selector panel, or from the popup menu in each module. Any combination of modules can even be split into two separate signal paths for some serious parallel processing.  

The 6060 also includes updated compression algorithms not available in the 6050 Ultimate Channel Strip or the original 6030 Ultimate Compressor. Improvements include feedback and feedforward processing, and the rare option of negative compression on a few select modules.  

The 6060 is indeed, the ultimate module collection.

Features

  • Largest collection of processing options of any module-based plug-in
  • Easy drag and drop, on the fly module auditioning
  • Split Mode operation for two separate parallel signal paths
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

Modules

BC23

Based on a more ‘traditional’ English design, the British C-23 (BC-23 for short) module offers control for threshold, ratio, attack, and recovery. Internal circuit smarts help prevent unwanted distortion, even at extreme compression settings (low threshold, fast attack and release). As found in several of the compression modules in the 6060, there is also a feedback compression mode.

BOB

The Bass Optimized Bias module is designed for making low rumble really rumble. Over 24 dB of low end boost is available at the selected frequency. Signal levels below the selected frequency are actually reduced, so that the boosted low end is better focused. A Squash control can provide some frequency selective compression near the boosted low end frequency, at a selectable recovery rate. Two bias modes offer additional tone flexibility.

British-E

McDSP’s own FilterBank plug-in, originally released in 1998, harnessed the fundamental design characteristics of the Neve line of equalizers, most notably the 1069, 1073 and 1081, with its unique Peak, Slope, and Dip controls. The British E module uses this same FilterBank technology to create an amalgamation of great Neve equalizers. The classic hpf, low shelf, parametric, high shelf combination makes the British E module useful for most mixing situations.

C671

The C671 module is a variation of a Fairchild 670, with slightly faster signal tracking to accommodate modern production styles, and yet still imparts a ‘warmth’ into the audio output. The McDSP C671 is sonically identical to the original C670 module from the 6030 Ultimate Compressor plug-in, but includes its own makeup gain, as do all the other 6060 compression modules. For this reason, all the compression module name enumerations are increased by ‘1’ to note the addition of the makeup gain in each module.

D-100

In-your-face distortion is what the D-100 module is for. When tracks need to get ‘nasty’ the D-100 is a go-to choice.

D359

The D359 module is the most aggressive compressor in the 6060 Ultimate Module Collection plug-in. An LED style GR meter is also used to show as much dynamic range control response as possible. Feedback (and feedforward) compression modes are offered, as is the (did we mention dangerous?) negative compression mode.

E300

While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

E301

While there may be no electro-optical attenuation in these equalizers, McDSP wanted to have equalizer modules that complimented the Opto-C/L compressor modules in the 6060 Ultimate Module Collection plug-in. The Opto-C/L modules are good general purpose compressors, with the Opto-L module operating more like a vintage limiter. In that spirit, the E300/301 modules are very utilitarian as well. The E300 and E301 three-band modules have the same frequency and gain ranges, but the E301 is a tad narrower in bandwidth, especially at higher gain settings.

E357

The E357 is a 3-band EQ meant to work in tandem with the D357 compressor. The slopes are steeper than most other EQ modules, and have a bit of character (like the D357). Use with caution.

E404

A re-issue of the classic FilterBank E4 module from 1999, the E404 offers up the same high pass filter, low shelf, parametric, and high shelf EQ that made FilterBank an award-winning plug-in.

E671

Fairchild made not only great compressor/limiters, they also put out a few program equalizers. The Fairchild 664, a two band EQ, served as the basis for the E670 design. Gentle low and high shelving EQ, complimented by a mid band parametric, give the E670 a smooth sound, but the three bands (each with its own gain and frequency control) provide flexibility expected in the modern studio. Suitable for subtle adjustments in any mixing situation.

EQ’76

This 6060 module draws from the UREI 545 parametric equalizer. The EQ’76 has four bands of paramtric equalization with a slight Q-gain dependency. The EQ’76 design is close to that of the E300/301 modules, but using a different set of frequency ranges and a more modern gain-dependent bandwidth design.

EZG

Inspired by noise gate units such as the dbx 904, 363x, and 463x, the EZ G is a great complement to the dynamics Over EZ compressor. A set of adjustable side chain high pass and low pass filters make the EZ G a versatile noise gate.

EZQ

The folks at dbx did not release any parametric equalizers to match their classic compressor product line. But if they did, here at McDSP we think it would have sounded like the EZ Q. Using a high pass filter to crave out the rumble, plus capable low and high shelfs, and a fairly flexible parametric, the EZ Q gets the job done.

FRG EEE

What else can compliment a compressor nicknamed ‘The Frog’ (FRG444 from the 6030 Ultimate Compressor plug-in) than an equalizer with a name like FRG EEE (pronounced ‘froggy’). Two parametrics bounded by a high and low shelf pair, the FRG EEE is a capable equalizer, not unlike what is seen in modern channel strips in analog mixing consoles.

FRG446

The FRG446 module, commonly referred to as ‘The Frog’ by McDSP engineering staff, uses an moderately aggressive compression design to quickly respond to audio input. As with other 6060 compression modules, feedback (and feedforward) compression modes are offered, as is the dangerous negative compression mode.

FRGX

Upwards and downwards expansion is what the FRG X is all about. Up to 24 dB of signal cut or boost is available, along with a ratio control. Adjustable side chain filtering is included.

GC-1

Gate and Compressor are often combined, so why not put both into a single module? Lo the GC-1 is born!

Use the Gate section to remove room tone or unwanted background noise. There is up to 48 dB of rejection provided by the Range control, and an extra fast response characteristic can be enabled with the FAST button. There is also a preset hold time enable by the HOLD button.

The Comp section takes the output of the Gate and applies some dynamic range control. The compressor in the GC-1 is the only compressor that offers an Auto attack/release mode.

The GC-1 is great for a snare or kick that has too much room tone but also needs to be squashed and then turned up. The GC-1 is also suitable for vocals, and plenty of other acoustic instruments where you don’t really want to hear all of what has been recorded!

iC2

The iComp module is an all original McDSP design. Attack and release times are not available on this module, and are instead automatically updated based on user selected threshold and ratio control values.

iQ

The only two-band equalizer in the 6060 collection, the iQ is surprisingly adept at fine tuning mixes in any music genre. Tracks needing some low end ‘glow’ or high end ‘sheen’ can benefit from use of the iQ module.

ix

The iX downward expander provides as much signal rejection as the EZ G, but as an expander also offers a ratio control to adjust the transition, or slope, between the unaffected and expanded signals.

MEF 1

The Mid Emphasis Filter (MEF) does more than just cut out some of the low and high frequency content of a track. The Emphasis control brings out what is left between the two filter bands, helping tracks stand out without competing with each other.

Moo-D

If the analog saturation from the S671 is not the right tone tweak, then the creamy tube overdrive of the Moo-D module may be a better choice. Often a better choice for mixes than for individual tracks.

MOO Q

All tube designs are known for a warm tone with tons of headroom. The Moo Q delivers these qualities and more in a three band package.

MT2

The Moo Tube module emulates an all tube design with a few unique twists. Mid range sensitivity has been modified by McDSP engineering, attack and recovery times are gentle yet usable for many applications, and the output frequency response is variable based on the amount of compression.

Opto-C3

The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

Opto-L3

The Opto-C3 and Opto-L3 modules use an electro-optical attenuation circuit model for compression (Opto-C) or limiter (Opto-L) applications. The use of an electro-optical circuit causes the dynamic compression to ‘back off’ after a certain amount of dB reduction is achieved. This feature is sometimes referred to as a ‘dog tail compression effect’. Both the Opto-C3 and Opto-L3 modules feature a feedback compression (or limiter) mode in which the compressor (or limiter) output is the key signal. As more gain is applied, the compression amounts also increase, creating a convenient way to audition more compression at roughly similar audio levels. The addition of the feedback mode in several of the compression modules is one of the many new features of the 6060 Ultimate Module Collection plug-in.

Over EZ3

The Over EZ3 module incorporates a smooth knee response with a flexible control configuration including user selectable threshold, ratio, attack, and release. New additions in this module include the feedback compression mode, and the rare and ‘careful how you use it’ negative compression mode.

When the negative compression mode is enabled, the LOWEST compression ratio is infinity to 1. As the compression ratio control is increased, the actual compression ratio DECREASES (-100:1, -10:1, -2:1) towards a final compression value of -1 to 1. At this maximum setting, for every 1 dB of signal level increase, there is a 1 dB REDUCTION in output level. Any amount of negative compression causes pumping and breathing in output levels, and when used with fast attack and release times, creates plenty of signal distortion. Negative compression is a feature to be used carefully.

PDQ

The PDQ module is a specialized EQ circuit that offers a boost (Peak) and cut (Dip) at a selected frequency. This Pultec-like operation has a sound all its own, and can take the user in another tone direction that a standard EQ would not. The ‘WIDE’ mode for each band will displace the boost (Peak) and cut (Dip) gains further from each other. Also note the default values for the PDQ gains is +/- 6 dB, implying they were intended to be working simultaneously. But by rotating the Peak or Dip knob fully to the left, their effect on the gain response of the EQ is minimized.

S671

Tracks needing a bit of grit will benefit from a touch up from the S671 saturation module. A Tone control is provided to tailor the ‘edge’ added by the S671 to a variety of applications.

Shine

Although the idea of artificial intelligence (AI) is relatively new, the use of an AI-based computer model to synthesize new algorithms has been around for a long time. The SHINE module uses such an AI based approach to approximate some McDSP engineered frequency curves.

The AI topology used in the SHINE module is derived from the transfer function of a transformer. But instead of simply trying to reproduce the incoming signal accurately at the output (ie transform it), McDSP engineering applied some tone bending savvy and came up with 2 modes and 2 lift curves per mode for some interesting high-shelf-like polish for incoming audio signals … aka ‘Shine’!!

SOS

The SOS (Same Old SSSSS) module is a finely tuned de-esser. The module name is also a nod to SOS Magazine reviewer Sam Inglis’ request for a de-esser. I guess SOS could also stand for “De-SSS for Sam?

The SOS module also offers a Low Cut mode to reduce plosives and other low-end noise common in vocal and dialog tracks. The SOS HF+ mode puts more de-essing sensitivity into frequencies approximately 1 octave above the selected de-essing frequency.

SST’78

The SST’78 module is a solid-state circuit model with a McDSP designed key circuit. For the curious, SST does not stand for Super Sonic Transport. The SST’78 features feedforward and feedback compression modes, as well as a negative compression mode. Because the SST’78 is capable of very fast attack and release times, caution is advised when engaging its negative compression circuit.

TAPE

The TAPE module builds on the famous (or infamous?) McDSP Analog Channel AC202 module, but with a new design for emulating tape compression and playback response. Tape head bump and roll off are user selectable, as is the repro-head type (Modern or Vintage). Tape formulations are based on the Quantegy GP9 and Ampex 456. Tape compression is largely controlled by signal level going into the TAPE module input, however there is also user selectable tape compression via the ‘Comp’ control. Overall tape compression amount is displayed in dB.

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only).

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native/DSP
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


17. SSi Pro Channel v3

by Minimal System Group

SSi Pro Channel v3

Important Note: This product is only compatible with Windows operating systems.

The SSi Pro Channel incorporates our 3 great processors in to one beautiful plugin. With an easy to use interface and a fantastic analogue modelled sound and character the SSi Pro Channel will be your ‘go to’ channel strip.

Features:

  • Beautiful analogue modelled channel strip
  • Can be used on instrument tracks and the master buss
  • Gate, Compressor, EQ, Master Section
  • Customizable EQ section
  • Professional vintage analogue GUI Design
  • Very low CPU usage

System Requirements

  • PC running a Windows operating system. VST compatible DAW or VST hosting software
  • This plugin is 32bit but can be run on 64bit systems using jBridge
  • This plugin also operates within the 64bit versions of Cubase, Nuendo, Bitwig Studio, Reaper, Tracktion, Renoise, FL Studio, Sonar, Mixcraft and Samplitude using their inbuilt bridging
  • It is recommended that you always try out the demo before purchases to ensure that the plugin is compatible with your system

Host Compatibility

  • Minimal System Group Plugins run on Windows based PC’s using a suitable VST host or DAW. Our plugins have been fully tested within Ableton Live, Adobe Audition, Cakewalk Sonar, FL Studio, Energy XT, Presonus Studio One, Renoise, and Cubase

Please Note: This plugin is 32bit but can be run on 64bit systems using jBridge


18. Slam Pro

by BeatSkillz

Slam Pro

The Ultimate Channel Strip – Shape your Drums, Bass, Synths, Vocals and more…

Enhance your Sound and Workflow

Slam Pro is a simple yet powerful tool, with just the right controls to dial in the sound that you desire quickly. Pro Engineers use a combination of various processes to achieve great sounding tracks consistently. Slam Pro brings you such a combination of perfectly executed hardware emulations, which bring the same workflow to your setup.

Features

  • Bombastic Bass: Add or cut the ‘Thump’, ‘Boom’ or ‘Sub’ Bass to your track. Add thump to kicks or boom to 808s, and also remove mud in seconds
  • Heat/Airz: Garnish your track or mix with Tube/ Tape Saturation (3 types selectable). Add clarity to your mix or track with the Airz control (3 frequencies selectable using the high-shelf filter)
  • Pop/Crush: Use any of the 4 types of compression (‘Pop’) to glue – add punch, or control to your track dynamics and then ‘Crush’ to provide your track or mix with loudness
  • Stereo Width: Use the Band-slider to set the crossover for 2 bands of stereo expansion. Widen your track, yet keep the bass frequencies in the centre. Achieve full control of your stereo-width with no hassle

System Requirements

Mac:

  • OSX 10.6.8 or later
  • Intel Core 2 Duo 2 GHz
  • 2 GB RAM / 300 MB HD
  • Screen resolution: 1024×768
  • VST2, AU and AAX (with wrapper) compatible (64-bit host)

Windows:

  • Windows 7 or later 
  • AMD Athlon 64 or equivalent
  • 2 GB RAM / 300 MB HD
  • Screen Resolution: 1024×768
  • VST2 and AAX (with wrapper) compatible (64-bit host)

Note: An internet connection is required for download and activation.


19. Slam XL

by BeatSkillz

Slam XL

The key to that “perfect” mix or that “hit” track can sometimes be the right tools and colours. Sometimes if the processors get too complicated and have a multitude of options, then we can also easily get “disconnected” from our inspiration.

SLAM XL is that “perfect” channel and bus fattener, that can instantly bring your beats, keyboards, live instruments, vocals or percussion to life, without the need of chains of plugins or very complicated plugins, which take more time and are difficult to use.

The easy and appealing interface of Slam XL gives you instant control over equalization, saturation, compression, limiting and stereo expansion right out of the box from one plugin, so you don’t have to reach out for other plugins or break your creative flow.

But.. this is not the only reason. For us at beatskillz, SOUND is “everything!” We went insane capturing 6 analog paths involving transformers, tubes and transistors for our Saturation Section.

Wait till you plug this guy into your channels or busses, and quickly tweak the sound to get pleasing results fast!

With a plethora of presets already included to get you started, Slam XL might just become the “first” plugin you will reach for when producing or mixing your tracks.

Low latency and cpu light processing enables you to live track your instruments, vocals or drum machines & keyboards in realtime, so you can shape the sounds of your music very very quickly.

This is the 3rd generation of our “SLAM” plugins, the concept that we started our company with. Your loving response has led us to bringing you even better sounding plugins each year!

Features

EQ Section

  • EQ in / bypass button: Switch the Eq section on and off.
  • BASS Band: This band features a frequency control with range of 50 hz to 200hz, a Q control for bandwidth of the bell filter and the Gain Control for the band.
  • MID Band: This band features a frequency control with range of 500 hz to 4K, a Q control for bandwidth of the bell filter and the Gain Control for the band.
  • TOP Band: This band features a frequency control with range of 5K to 15K, a Q control for bandwidth of the bell filter and the Gain Control for the band.
  • Low Cut Filter: This features a 12db/ octave low cut filter with a selection of 20, 50 & 100 hz and off.

Saturation

  • Saturation in / bypass button: Switch the section on and off.
  • 6 Selectable Saturation types buttons: Get 6 distinct saturation flavours to choose from. These have been captured from various analog equipment both new and vintage to give you anywhere from “smooth” to “crunchy” styles.
  • Saturation Amount: Use this control to dial in just the right amount of saturation. We’ve made this control super smooth, so you can easily dial in “sweet spots”

I/O & Wet/Dry

  • Controls for changing the input and output gain as well as a “wet/dry” control has been provided, so that the user can adjust gain staging and also the intensity of the processing. Want to mix in the original signal? No problem just dial “left” add it back into the mix.

Compressor

  • A compressor designed for “BUS” glue with full controls featuring Attack, Release, Ratio, And Compression Amount (threshold)

Limiter

  • A “loudness” limiter designed to bring more levels and apparent loudness to your tracks or busses without any compromise. Easy to use with one control. No Pumping!

Stereo Expander

  • A full 3 band stereo expander based on the Mid/Side method and with crossover controls for the bands, enables you to easily “widen” or “narrow” down the spatial image of your material quickly .

Metering

  • The metering section provides modern LED style metering for a visual signal response.
  • This Features an LED strip on the left for the input signal, an LED strip on the right for the Output signal.
  • The Center LED strip depicts Gain Reduction when the compressor Section is in use.

Presets

  • The Preset bar allows a user to quickly select factory presets in various categories for instruments or bus/ mix applications. You can also save and delete presets from this bar.

System Requirements

Mac:

  • macOS High Sierra 10.13.6 or later (Catalina Supported)
  • VST / AU / AAX (32-bit or 64-bit host)
  • Intel i3 or later  / AMD Athlon 64 or equivalent 
  • 2 GB RAM / 300 MB HD Required
  • Screen resolution: 1024×768

Windows:

  • Windows 10
  • VST / AAX (32-bit or 64-bit host)
  • Intel i3 or later / AMD Athlon 64 or equivalent
  • 2 GB RAM / 300 MB HD
  • Screen resolution: 1024×768

20. Neutron 3 Advanced

by iZotope

Neutron 3 Advanced

The Modern Way to Mix

The following Upgrades & Crossgrades are also available:

From the makers of Ozone and RX, Neutron 3 will bring your mixes into the 21st century with new assistive audio technology, new interactive visuals, and faster performance.

We’re Transforming Mixing

Neutron 3 packages the latest advances in audio technology and passes them to you, so you can focus on your craft.

Mix Assistant

With Mix Assistant, Neutron 3 can automatically sculpt your tracks and balance your levels, so you can get right into the creative flow.

Start your Track

Neutron’s Track Enhance seamlessly detects and molds your instrument sounds with tools like the new Sculptor module.

Start your Mix

Neutron 3 listens to your whole session and kicks things off right by suggesting an initial level mix.

Sculptor Module

The be-all, end-all of audio goodness. For sweetening, fixing, and even creative applications, Sculptor is like having an army of EQs and compressors working tirelessly to shape your track. Choose from 25 unique instrument profiles to shape your instrument into a totally new version of itself.

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. In Neutron 3 Advanced, you can use the Mix Assistant button and get to a great starting point even faster.

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 3 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 3 use up to half the memory of Neutron 2. Forget about messing with settings and bouncing in large sessions.
  • Lower buffer size: Neutron 3 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.

Neutron 3 Modules

Sculptor

Remove resonance and add excitement to your tracks with the ultimate hands-off audio tool.

Transient Shaper

Change the contour of your sound and control attack and release with this mixing secret weapon.

Exciter

Add modern character or warm, vintage grit with our Exciter module.

Gate

Add impact and energy to your audio with our flexible multiband gate.

Compressor

Fit your tracks perfectly in the mix with our swiss-army-knife compressor.

Equalizer

Auto detect frequencies and remove masking with our intelligent EQ.

System Requirements

Operating Systems

  • Mac: OS X 10.11.6 (El Capitan) – macOS 10.15 (64-bit only)
  • Windows: Windows 7 (64-bit) (Latest Service Packs) – Windows 10 (64-bit)

Plug-in Formats

  • AU, AAX, VST2, VST3. All formats are 64-bit only.

Supported Hosts:

  • Ableton Live 9—10, Cubase 9.5, Digital Performer 9, FL Studio 12, Logic Pro X, Nuendo 8, Pro Tools 10—12, Reaper 5, Reason 10, Studio One 3—4

21.Analog Channel HD

by McDSP

Analog Channel HD

Note: This product is the HD version. You can purchase the Native version HERE.

Analog Channel emulates the sounds of high-end analog tape machines, tape, and channel amplifiers.

Analog Channel is 2 plug-ins:

  • AC101 – Emulates analog channel amplifier circuits
  • AC202 – Emulates analog tape machines

The AC101 configuration acts as a digital pre-amp allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio “sits” in the saturation/compression region, and even the attack and release times of the distortion character are adjustable.

The AC202 configuration emulates analog tape machines. In addition to standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization, AC202 offers controls well beyond the limits of the reel-world devices including adjustable low frequency roll off and head bump – independent of playback speed. The user can select from several playback head types, tape formulations, and even control the tape saturation recovery time.

Features

  • Library of presets emulating analog mixing systems
  • Real-time display of saturation curves and calibrations
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX DSP/Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S3L/S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic 9, X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


22. Channel G Compact Native

by McDSP

Channel G Compact Native

Note: This product is the Native version. You can purchase the HD version HERE.

Channel G Compact delivers the same sonic experience as Channel G with a smaller DSP footprint. Channel G Compact features calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Features

  • High pass and low pass filters with selectable slopes of up 12 and 24 dB/Oct
  • Full-featured Compressor/Limiter
  • Four-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit only)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


23. Channel G Compact HD

by McDSP

SALE macpc 32-bit / 64-bit Channel G Compact HD

Note: This product is the HD version. You can purchase the Native version HERE.

Channel G Compact delivers the same sonic experience as Channel G with a smaller DSP footprint. Channel G Compact features calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Features

  • High pass and low pass filters with selectable slopes of up 12 and 24 dB/Oct
  • Full-featured Compressor/Limiter
  • Four-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit only)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


24. Channel G HD

by McDSP

Channel G HD

Note: This product is the HD version. You can purchase the Native version HERE.

Channel G delivers the big board sound with unprecedented flexibility and seamless integration with Avid control surfaces including S6, S3, D-Control, D-Command, and VENUE Live sound systems including S3L and S6L.

Channel G is 3 plug-ins:

  • G Dynamics – a fully featured console style dynamics section with an Expander/Gate, Compressor/Limiter, and a versatile filter section
  • G Equalizer – a five-band professional grade console style EQ with a versatile filter section
  • G Console – a combination of the G Dynamics and G Equalizer configurations

All Channel G configurations feature calibration modes for music, post production, and models of the world’s most popular analog mixing desks.

Features

  • Multi-mode filters (high pass, low pass, notch) with selectable slopes of 6 to 24 dB/Oct
  • Full-featured Expander/Gate, Compressor/Limiter
  • Five-band EQ with shelving and parametric sections
  • Compressor/Limiter operation pre or post EQ section
  • Analog Saturation modelling
  • Double precision processing
  • Ultra-low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


25. Weiss Complete Collection

by Softube

Weiss Complete Collection

High-end Mastering, Scaled-Down Price

  • Value: This choice collection of plug-ins gives you indispensable, high-end Weiss mastering at a fraction of the price when purchased separately​.
  • Authenticity: The included plug-ins have been developed in close collaboration with, and are authorized by, Weiss Engineering and Daniel Weiss​.
  • Options: A curated collection of six crucial plug-ins—DS1-MK3, MM-1, Compressor/Limiter, Deess, EQ1, and Gambit Series channel strip for Console 1​.

Weiss. It’s the name in audio mastering. Synonymous with sound quality, the value of the Weiss Engineering suite of mastering tools is undeniable. But with premium instruments come premium price tags. This hand-picked bundle allows you to own the gold-standard in mastering gear for pennies on the list price.

Take your work to a calibre heard, or rather unheard, on virtually every major record of the past two decades. Created in collaboration with Weiss Engineering, these exactingly modelled plug-ins bring unsurpassed mastering excellence into the DAW-based studio. Compression, limiting, de-essing, mix maximizing, equalizing; get all the essential mastering elements at an exceptional value.

Softube & Weiss: Meeting of the Minds

Weiss has been a pioneer in digital audio equipment design since 1979. That’s when Weiss founder, Daniel Weiss, joined Willi Studer AG in Switzerland as an engineer. In 1985, Weiss struck out on his own and founded Weiss Engineering with a focus on pioneering digital audio equipment for Mastering Studios. The result of that endeavour is now legend.

Softube’s relationship with Weiss started in 2008 when they were first introduced to Daniel Weiss. Despite having so many guiding principles in common, it wasn’t until 2015 that Softube got serious about working together. Three years—and some blood, sweat, and tears—later, the Softube + Weiss DS1-MK3 plug-in was unveiled to great fanfare. And the tradition continues.

Weiss EQ1

A 1:1 Code Port of the Weiss EQ with No Equal

  • A line-by-line code port boasting 1:1 accuracy of the pioneering original hardware, known as the standard of digital mastering EQs​.
  • Increased functionality of the original algorithms, plus 32-bit / 192 kHz operation and updated ergonomics.
  • Easy manual recall of Presets that sound and behave exactly like they do in the hardware​.

The Original and Still the Best

The original Weiss EQ1 is the stick by which all digital mastering EQs are measured. EQ1 boasts seven identical parametric bands that cover the entire audio frequency range and have an incredible Q-parameter range of 0.2 to 650. Each EQ band has Boost/Cut, Frequency, and Q/Slope knobs and operate in any of the following modes: High-shelving, Low-shelving, Peaking, High-cut, Low-cut, and Bypass. High auditory quality and functional design made the EQ1 a bestseller in 1996 and solidified its status as the top digital mastering EQ in the field going forward.

Features

  • A line-by-line code port of the original Weiss EQ1, the standard-bearer of digital mastering EQs and a must-have for mastering houses worldwide.
  • A surgical Minimum Phase EQ, a true Linear Phase EQ, and a Dynamic EQ—all in one.
  • 7 full-range bands with -39 to +18 db Cut/Boost range.
  • Threshold, Attack, Release and Ratio parameters available on individual bands in Dynamic Advanced Mode.
  • Operates in Minimum Phase, Linear Phase, Dynamic and Dynamic Advanced Modes.
  • High and Low Cut, High and Low Shelving and Peaking Incredible Q-Range of 0.2 to 650 M/S Processing, Solo/bypass individual bands and Link Channels 4 user interface layouts Up to 192kHz sample rates and, with 64-Bit internal processing.
  • Workflow and ergonomic advancements with four adaptable user interfaces.
  • Created in collaboration with—and endorsed by—Weiss Engineering.

Learn more about Weiss EQ1.

Weiss Gambit Series For Console 1

The Crystal-Clear Sound of Weiss for Console 1

  • A tidy channel strip based on 1:1 code ports of the original Weiss DS1-MK3 and EQ1 units​.
  • Created in partnership with—and officially licensed by—Weiss Engineering​.
  • With special features such as below-threshold compression​.

It’s here. One of the most highly requested components for Console 1 makes its debut. Introducing the Weiss Gambit Series for Console 1. A painstaking extraction of the top features from two of the most admired digital processors, Weiss DS1-MK3 and Weiss EQ1—plus characteristic extras—the result is the clean, sharp channel strip engineers everywhere have been waiting for.

Joining a storied slew of offerings in the successful partnership of Softube and Weiss Engineering, Weiss Gambit Series gives you the algorithms of the originals. But it also sports exclusive, high-end features such as below-threshold compression. Weiss Gambit Series channel strip for Console 1: created for mastering, now tailor-made for mixing.

Features

  • A tailor-made for mixing channel strip for Console 1.
  • Improved functionality and features for the Console 1 workflow.
  • A neat and clean channel strip based on 1:1 code ports of the Weiss DS1-MK3 and EQ1.
  • High and Low-Cut filters from the Weiss EQ1.
  • Gate, Expander and Below Threshold Compression in Shape section.
  • 4 Band EQ from the Weiss EQ1.
  • Compressor from the Weiss DS1-MK3.
  • Limiter from the Weiss DS1-MK3 with added modes from the Weiss MM-1.
  • Thoroughly unique below-threshold compression.
  • Created in partnership with—and officially licensed by—Weiss Engineering.

Learn more about Weiss Gambit Series For Console 1.

Weiss DS1-MK3

The Gold Standard in Mastering

Mastering compression, limiting, and de-essing without compromise. Every mastering engineer’s fondest dream is about to come true. Softube’s plug-in is a line-by-line code port of the legendary Weiss DS1-MK3 mastering processor — the unit no serious mastering engineer can do without.

Since its launch in the 1990s, the Weiss DS1 has become an absolute gold-standard unit, indispensable in mastering studios around the world despite a premium price tag. Its transparency, unparalleled versatility, and exceptional sound quality make it a must-have, heard (or rather not heard) on pretty much any major record you’d care to mention from the last twenty years. And in that time updates and improvements by Weiss have led to the near-perfection of the DS1-MK3.

And now for the first time ever, it is available as a plug-in from Softube, offering more flexibility than ever in a modern DAW environment, at a fraction of the cost.

Features

  • Officially licensed and endorsed by Daniel Weiss himself.
  • Not an emulation, but a line-by-line code port of the original digital hardware.
  • Exactly the same processor as the $10,000 original, at a fraction of the cost.
  • Three processors in one; de-ess, compress, and limit, with the industry-standard tool.
  • Processes at resolutions of up to 32 bit/192 kHz for exceptional sound quality.
  • Advanced metering – waveform view.
  • Featuring all-new presets from Bob Katz.
  • Truly versatile de-essing. Choose your own filters, adjust frequency, and tailor the process to your needs working in stereo or mid-sides.
  • Digital compressor can operate at speeds no analogue unit ever could and offers you total control.
  • Two brand-new limiter algorithms included, as well as the Weiss original.
  • Run multiple instances of this legendary unit on the same mix at no extra cost.
  • Nothing sounds as clean, as transparent, as good. That’s why the hardware is in every major mastering studio in the world.

Learn more about Weiss DS1-MK3.

Weiss MM-1

Loudness Done Right

Based on the legendary Weiss DS1-MK3, the centrepiece of mastering studios the world over (and also now available as a Softube plug-in), the future of fast and professional mix maximizing is now here – the MM-1 Mastering Maximizer.

Featuring the very same algorithms as the original digital hardware unit, the MM-1 offers five flavours of limiting; Transparent, Loud, Punch, Wide, and De-ess; intelligently progressing as the ‘amount’ knob turns, and blendable with the mix control, to give users precisely the right amount of power over the feel of their masters.

Crucial to this plug-in is that it can’t sound bad – the intelligent processes happening under the hood as the amount knob turns; the filtering, compression, de-essing, and so on; have been carefully designed by highly experienced mastering engineers using the industry-standard DS1-MK3 as a foundation.

And there’s no better mastering limiter out there. This product allows users to get their mixes exactly as loud as they want, with exactly the sound they want, without sacrificing dynamics and musicality.

Features

  • Simple interface controlling detailed expert mastering processes.
  • Five ‘flavours’ of limiting available.
  • Contains the very same technology as the legendary hardware mastering processor, the Weiss MM-1.
  • Fully licensed and endorsed by Daniel Weiss himself.
  • Great for maximizing your mix-bus quickly and effectively.
  • Go as loud as you want; louder than any other product out there; without sacrificing desirable tone and dynamics.
  • Impossible to get it wrong. Be the master of your own masters!

Learn more about Weiss MM-1.

Weiss Compressor/Limiter

The Modern & Transparent Mastering Compressor/Limiter

The mastering stage is the last chance to make or break a track, so getting it right can be the difference between a battle won or lost. That’s why the startling transparency and effectiveness of the Weiss digital compression algorithms, and its unrivalled versatility in terms of detailed control over attack and release times, knee settings, ratio, threshold, filters (low pass and bandpass), and other crucial factors, are a must-have.

And being able to push a track to the appropriate degree of loudness without unpleasant artefacts from the limiter is rightfully expected of any modern mastering engineer. That’s when the quality of your tools really matters; the Weiss is the only product that allows you to achieve such a clean, sweet, and dynamic sound at high levels. And with two brand-new advanced limiter algorithms on top of the Weiss original, you have more top-of-the-line options with Weiss than ever before.

But it’s perhaps the new visualisations that really make the Compressor/Limiter a no-brainer. Being able to see in detail the precise effect you’re having on your signal; where things are working nicely and where you might be over or under-compressing; allows you to know your material better and make the right calls with a degree of precision and detail that even the very best ears can’t promise.

Features

  • A modern and transparent digital compressor and limiter, with code-ported algorithms from the industry-standard DS1-MK3.
  • Total control, without an over-complicated interface. The ‘expert’ tools are all in a hidden side-menu.
  • Stunning and intuitive visualisations for detailed control, and intuitive experience.
  • Clean tweak-and-go faceplate, with immensely detailed controls hidden in side-menu.
  • Ultra-professional tool, but without the daunting, complex look.
  • Compress selectively, with low pass and bandpass filters.
  • Two brand-new advanced limiter algorithms in addition to the Weiss original.
  • Available as a single plug-in, or as part of the Weiss DS1-MK3 collection.

Learn more about Weiss Compressor/Limiter.

Weiss Deess

Whether you’re trying to tame sibilance in a lead vocal, rein in a sharp-sounding hi-hat, or reduce harshness while mastering, a truly great de-esser is as elusive as it is essential. Enter the Weiss Deess, available as an individual plug-in or as part of the Weiss DS1-MK3 collection. Most de-essers – even modern digital or plug-in units – lack versatility, user-friendliness, appropriate visualisation, or quite simply don’t work like you hope they will.

With a combination of the highly-prized sonics of the industry gold-standard Weiss DS1-MK3 – the go-to digital hardware de-essing unit used in top mastering studios the world over – and a totally modern and focused approach in design, Softube is psyched to announce the Weiss Deess Plug-in.

First of all, it has two completely independent bands. Most de-essers have one, but almost no sibilant has a single-frequency focus, especially when you’re dealing with complex material or mastering applications.

Secondly, it has a variety of filter shapes and excellent band-width control, allowing you to home in on precisely what you need to deal with, without collateral damage.

Thirdly, it has unparalleled visualizations. A large, colorful, and intuitive display shows FFT readouts as well as your filter shapes, so you can clearly see what effect you’re having on your signal.

Fourthly, the faceplate GUI is uncluttered, focusing on giving great visual information, but a side-menu allows control over everything; ratios, attack and release times, knee settings, make-up gain and more.

Fifth, a low-latency mode allows you to de-ess in tracking, saving the tedium in the mix of what can often feel like a non-creative editing task. Nothing beats getting it right on the way in.

Lastly, and most importantly of all, the Weiss algorithms, code-ported from the gold-standard DS1-MK3 unit, provide the best sounding de-essing in the world. It does the job effectively and transparently, without hassle or artefact.

Features

  • The best-sounding de-esser available, with code-ported algorithms from the industry-standard DS1-MK3.
  • Two bands of de-essing. This is the only de-esser you’ll need.
  • Stunning and intuitive visualisations make this de-esser a breeze to use.
  • Clean tweak-and-go faceplate, with immensely detailed controls hidden in side-menu.
  • Ultra-professional tool, but without the daunting, complex look.
  • Low-latency mode allows you to de-ess while tracking a vocal.
  • All the versatility you need in terms of filter shapes, frequencies etc.

Learn more about Weiss Deess.

System Requirements

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • The most recent maintenance release of the DAW application is recommended.

However, due to plug-in host differences between DAWs – and Softube’s own rigorous testing standards – Softube only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. Softube cannot guarantee a solution for issues in unsupported systems.

Important note: make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com​


26. Fat Channel XT

by PreSonus

Fat Channel XT

Complete Channel Strip Plug-in

Bigger is better.

Originally designed for integrated compatibility between Studio One and StudioLive mixers, Fat Channel XT brings award-winning StudioLive processors and State Space models of vintage EQs and compressors to your DAW of choice. Fat Channel XT was designed to be the ultimate channel strip for any input or bus with a variable high pass filter, gate/expander, compressor, EQ, and limiter—all in one singular plug-in. In addition to the classic StudioLive compressor and EQ modules, you get two State Space Modeled compressors and EQs recreated from coveted vintage studio gear. Need more virtual analogue goodness? Fat Channel XT can be expanded with any or all of the eight compressors and seven EQ models in the Fat Channel Plug-in Collection.

The channel that built a million mixes.

From the moment the original StudioLive shipped over a decade ago, the Fat Channel was an instant hit. With a fully variable high pass filter, a noise gate designed to never click, a musical compressor based on PreSonus’ famed ACP88, a four-band parametric EQ and a Limiter to round it all out, the Fat Channel gave StudioLive users all the tools they needed to craft the perfect mix. As StudioLive mixers evolved, so too did the Fat Channel; and Fat Channel XT was born to provide a fully-integrated experience for StudioLive Series III users inside Studio One. Now that same Fat Channel XT plug-in is available in VST3, AU, and AAX formats for nearly universal compatibility with 3rd party plug-in hosts.

The fatter channel.

PreSonus developers stand at the forefront of State Space Modeling technology, and they put their expertise to good use when designing the latest-gen Fat Channel XT by adding hybrid State Space models of vintage compressors and EQs. After installation, you’ll find three compressor models complete with Key Listen functions, plus three EQ models inside Fat Channel XT. The compressor and EQ order can be reversed, allowing for precision sculpting of your sound. Each processor can be disabled or enabled individually and if you need more virtual vintage goodies, PreSonus offers eight additional compressor models and seven additional EQ models as add-ons.

Compressor offers the following choices:

  • Standard. A flexible, modern compressor, with a clean, hi-fi sound.
  • Tube. A model of one of the best-loved vintage tube-based opto-compressors. Excels at vocal smoothing and at making bass instruments sound larger-than-life.
  • FET. A model of one of the most-used vintage FET-based compressors. Great for adding an aggressive edge and accentuating room sound for drums, guitars, and other highly-transient signals.

Equalizer offers the following choices:

  • Standard. A flexible, full-featured modern EQ, with a clean, hi-fi sound.
  • Passive. A model of one of the most sought-after vintage tube-based passive EQs. Deceptively simple controls and a rich, thick sound make it perfect for gentle tone-shaping or adding vintage character.
  • Vintage. A model of what some call the “final word” in vintage solid-state EQs. Combines an “everything sounds better through it” quality with musically-chosen EQ frequencies for quick, reliable tonal magic.

State of the art.

The vintage compressors and EQ in Fat Channel XT are meticulously recreated from the original analogue circuits using State Space Modeling technology. This same technology also powers the Ampire amp models, Channel Strip Collection plug-ins, and the Studio One Console Shaper, ensuring that the nuanced, variable sonic character of analogue survives its transition to the digital realm.

State-Space Modeling isn’t just about sampling vintage compressors and EQs and getting some sounds within the sonic ballpark, no—State Space Modeling is the surgical measuring and re-creation of old hardware on the per-component level. Each capacitor, every resistor, all the diodes and every nonlinear circuitry element of the complete hardware schematics have their behaviour measured, modelled, and re-created… including even component-specific non-linearities.

The result? Wonderfully perfect virtual models of wonderfully imperfect audio hardware. No transformer unturned, no valve left behind.

Features

  • Compatible with VST3, AudioUnit and AAX compatible host applications
  • Compatible with Studio One 4.6 and higher. Prime only (included in Artist and Professional)
  • Use award-winning StudioLive processors and State Space models of vintage EQs and compressors in your DAW of choice
  • 5 processors in one plug-in: high-pass filter, noise gate/expander, compressor, EQ, limiter
  • 3 compressor models to choose from: StudioLive Standard plus State Space modelled Tube and FET modules
  • 3 EQ models to choose from: StudioLive Standard plus Passive and Vintage modules
  • Additional State Space modelled compressor and EQ modules are available with Fat Channel Add-ons
  • Each processor can be individually enabled/disabled
  • EQ and Compressor position can be switched
  • Easy installation, authorization, and updates from PreSonus Hub plug-in manager application

System Requirements

Studio One (64-bit only)

Mac:

  • macOS® 10.11 or higher (64-bit only)
  • Intel® Core Duo processor (Intel Core™ Core i3 or better recommended)
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)

Windows:

  • Windows® 7 (SP1 + platform update), Windows 8.1 or Windows 10 x64
  • Intel Core™ Duo or AMD Athlon™ X2 processor (Intel Core 2 Duo or AMD X4 or better recommended)
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)

Other Host Applications (64-bit only)

Mac:

  • macOS® 10.13 or higher (64-bit only)
  • Intel® Core Duo processor (Intel Core™ Core i3 or better recommended)
  • VST3-, AU-, or AAX-compatible 64-bit host application
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)

Windows:

  • Windows® 10 x64
  • Intel Core™ Duo or AMD Athlon™ X2 processor (Intel Core 2 Duo or AMD X4 or better recommended)
  • VST3- or AAX-compatible 64-bit host application
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended) 

27. Channel Strip Collection

by PreSonus

Channel Strip Collection

Two State Space modelled plug-ins of classic PreSonus channel strips

Classic PreSonus Sound

Pepper your tracks with a tasteful dash of PreSonus flavour via these two State Space modelled plug-ins recreated from classic PreSonus hardware channel strips, available in Studio One® Native Effects, VST3, AU, and AAX formats for use in your DAW of choice. The RC 500 is modelled from the PreSonus RC 500 FET Channel Strip; VT1 is modeled from a PreSonus classic tube channel strip. When the engineer who designed the original analogue circuits can get together for drinks with the master of State Space Modeling, the resulting plug-in sounds so true to the original that even the designer of the analogue hardware can’t tell the difference.

VT1: A Tube Legend

Stunning high-end sound and incredible versatility are hallmarks of this top-of-the-line, tube-driven channel strip, which integrates a boutique-quality tube preamp; a custom-designed FET compressor; and a custom, four-band, semi-parametric EQ. The VT1’s FET (Field-Effect Transistor) compressor includes fully variable attack, release, threshold, ratio, makeup gain, and bypass controls, and employs a soft-knee compression curve.

The 4-band semi-parametric EQ combines isolated filters and optimized, per-band Q (width) control to provide subtle signal-shaping without harsh artefacts. All bands have Gain (±16 dB) and Frequency controls, with overlapping frequency ranges and fixed Q (0.55). The low and high bands are switchable between shelving and peak. Designed with musicality in mind, the VT1’s smooth and refined sound is a great addition to any serious mix engineer’s plug-in arsenal.

RC 500: Solid-state Smoothness

The RC 500 plug-in combines a custom-designed FET compressor and semi-parametric EQ in a distinctive, ultra-low-distortion, high-gain design. The RC 500’s FET (Field-Effect Transistor) compressor includes fully variable attack, release, and threshold controls, as well as bypass controls. The “soft knee” compression curve and a fixed 3:1 compression ratio can be driven harder at the input-gain stage, with a lower threshold, to emulate higher compression ratios.

This combination provides flexibility without adding complexity, making dialling in just the right sound quick and easy. The RC 500’s 3-band semi-parametric EQ combines isolated filters and optimized, per-band Q to provide subtle signal-shaping without harsh artefacts. The low and high bands are switchable between shelving and peak. The result is a sonically magical plug-in for recording engineers and musicians with a sound that is reminiscent of classic, vintage solid-state channel strips.

So how are these two strips different, exactly?

The VT1’s input stage offers an uncommon complement of tone-sculpting options and is great for making a particular track shine from inside your mix; the tube-modelled input section can be dialled up for boosted warmth and colour, and the six impedance options allow for some nuanced filtering—lower settings are darker. The four-band EQ allows for serious filtering.

The RC 500, on the other hand, is here to get the job done as quickly and efficiently as possible without calling attention to itself. That fixed 3:1 compression ratio and 3-band EQ removes a significant amount of guesswork, and since it’s modelled on a Class-A solid-state preamp, don’t expect any tube overdrive, here.

In short, if you want a lot of control and deliberate, surgical tone-shaping added to your tracks, pick the VT-1. If you need some signal processing quick, easy, and transparent, choose the RC 500.

Features

  • Available in Native Effects, VST3, AU, and AAX formats for use in your DAW of choice.
  • Compatible with Studio One 2.6.5 and higher. Prime, Artist and Professional.
  • Pepper your tracks with a tasteful dash of PreSonus flavour via these two State Space modelled plug-ins of classic PreSonus hardware channel strips:
    • VT1: Tube channel strip with FET compressor and 4-band EQ modelled from a PreSonus classic design.
    • RC 500: Solid-state channel strip with FET compressor and 3-band EQ model from the original RC 500 hardware.
  • Easy installation, authorization, and updates from PreSonus Hub plug-in manager application.

System Requirements

Mac

  • macOS® 10.11 or higher (64-bit only).
  • Intel® Core Duo processor (Intel Core™ Core i3 or better recommended).
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)

Mac (Other host applications)

  • macOS® 10.13 or higher (64-bit only)
  • Intel® Core Duo processor (Intel Core™ Core i3 or better recommended)
  • VST3-, AU-, or AAX-compatible 64-bit host application
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)

Windows (Studio One)

  • Windows® 7 (SP1 + platform update), Windows 8.1 or Windows 10 x64
  • Intel Core™ Duo or AMD Athlon™ X2 processor (Intel Core 2 Duo or AMD X4 or better recommended)
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)

Windows (Other host applications)

  • Windows 10 x64
  • Intel Core™ Duo or AMD Athlon™ X2 processor (Intel Core 2 Duo or AMD X4 or better recommended)
  • VST3- or AAX-compatible 64-bit host application
  • 4GB RAM (8GB or more recommended)
  • Monitor with at least 1366×768 resolution (high-dpi monitor recommended)
Top 27 Channel strip VST plugins 2020
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