Saturator

Top 33 Saturation VST plugins 2020

Loopmasters Best Seller Music Samples

We have collected for you the top 33 VST plugins Saturation according to PluginBoutique.

VST list navigation:

  1. XLN Audio RC-20 Retro Color Vintage Effect
  2. Little Radiator
  3. Softube Tape – Tape Machine Emulation
  4. Analog Pro
  5. Soundtoys Decapitator Analog Saturator
  6. Cassette
  7. Speaker
  8. Bad Tape + FREE Slappy
  9. Reelight
  10. Reels
  11. Harmonics
  12. Satin
  13. Radiator
  14. Saturate
  15. Valves
  16. God Mode + FREE Slappy
  17. U78 Saturator
  18. MSaturatorMB
  19. VocalMint Saturator
  20. Voxengo CRTIV Tape Bus
  21. Boost X
  22. Voxengo VariSaturator
  23. Voxengo Powershaper
  24. Voxengo CRTIV Shumovick
  25. Halcyon
  26. Punisher
  27. STA Preamp 2
  28. Helper Saturator
  29. Pumper Saturator
  30. Megaphone
  31. Saturator + FREE Slappy
  32. MPolySaturator
  33. WARM

1. XLN Audio RC-20 Retro Color Vintage Effect

by XLN Audio

RC-20 Retro Color

Your Sound. In Color.

RC-20 Retro Color is a creative effect plugin that adds life and texture to any recording. It easily recreates the warm, cozy feeling of vintage recording equipment, but also works perfectly in any modern production setting.

  • Adds life and texture inspired by classic gear
  • Great on drums, guitars, keys, bass and full mixes
  • Flux Engine adds warm, analog-style fluctuations

6 Unique FX Modules

RC-20’s six unique FX modules can replicate everything from vinyl records to VHS machines, adding noise, wobble and dropouts to your tracks. Its raw distortion and crunchy bit reduction will add grit to your bass and drums. The space and chorus effects will make your guitar sing like never before and the filtering effects fit right into the most modern club track.

Flux Engine

Our exclusive Flux Engine adds subtle (or not so subtle) instability and fluctuations to all of the FX modules, providing the character, warmth and analog goodness of yesteryear’s best technology.

Magnitude Slider

The Magnitude slider controls the intensity of all processing. Easily accessible all the time — even when browsing presets — it makes it easy to find the perfect sound and processing amount. Automate this control for awesome intros, breakdowns and transitions in your song.

Presets

The included presets for drums, keys, guitars, bass, full mixes and post production let you get to work right away. The RC-20 interface invites experimentation, and you can access the processing amount of each FX module while browsing.

System Requirements

Mac

  • macOS 10.9 or later (32 & 64-bit)
  • 2 GB RAM (4 GB recommended)
  • Internet connection (during installation only)

Formats:

  • VST, AU, AAX (32 & 64-bit)
  • Standalone Application 

Windows

  • Windows 7, 8, 10 (32 & 64-bit)
  • 2 GB RAM (4 GB recommended)
  • Internet connection (during installation only)

Formats:

  • VST, AAX (32 & 64-bit)
  • Standalone Application

Hosts

This product should run on any host supporting VST, AU, or AAX plugins. XLN Audio actively tests on the host applications listed below:

  • Ableton Live 9 & 10
  • Apple Logic Pro 9 & 10
  • Avid Pro Tools 11 or later (Pro Tools First is not supported)
  • Cakewalk by Bandlab
  • Propellerhead Reason 9.5 or later (In Addictive Drums 2, the Bus channel cannot be sent to a separate out track.)
  • Reaper 4 & 5
  • Steinberg Cubase 8 or later

2. Little Radiator

by Soundtoys

Little Radiator

Modeled Classic Tube Mic Pre-Amp

A little tube heat for your tracks.

If you want a touch of 60s warmth on your tracks, reach for Little Radiator. It’s great for fattening up bass, guitar, drums, or vocals. And it’s fantastic on electric piano.

This modeled tube pre-amp from Soundtoys is based on the Altec 1566A, a simple little preamp straight out of the Motown Era.  Little Radiator drives and breaks up in very interesting ways, creating rich harmonic distortion, exactly like the 1566A.

Looking for something a little dirtier? Flip the Bias switch and dial in a slightly choppy, misaligned sound that’s perfect for lo-fi drums or adding grit to vocals. You can even choose to recreate the noise of the original preamp. Little Radiator has boatloads of color and character. It’s just what you need to shake the “clean” off of your computer recordings.

Radiator

Want even more tone-shaping options? Take a look at Little Radiator’s big brother, Radiator. Based on the Altec 1567A mixer amp, Radiator gives you a great-sounding equalizer section, Mic/Line modes, and a sound that conjures up some of the greatest Motown recordings of the 60s.

Features

  • Call up 60’s Motown vibes instantly with the sound of the Altec 1566A pre-amp
  • Add character and grit to vocals, bass, electric piano, drums and more
  • Flip the Bias switch for choppy, lo-fi sounds
  • Add some line noise for a subtle, authentic feel

System Requirements

Plug-in Formats (64-bit only):

  • AAX Native, AAX AudioSuite, VST, and Audio Units (AU)

Supported Sample Rates:

  • Minimum: 44.1 kHz, Maximum: 192 kHz

Minimum Requirements:

  • Operating systems: Mac OS X 10.8 or later; Windows 7 or later
  • An internet connection is required at the time of activation
  •  A FREE account at ilok.com is required (a physical USB iLok is not required)

Officially Supported Host Applications

All version 5 Soundtoys products come with 64-bit VST, AU and AAX Native plug-in formats. Here is a list of all of the DAWs (Digital Audio Workstations) that we currently support:

  • Pro Tools 10.3.5 – 2018 (Mac & PC: AAX Native and AudioSuite)
  • Logic Pro 9 & X (​Mac: AudioUnits)
  • Ableton Live 9.2.2 – 10.1 (Mac: AudioUnits & VST; Windows: VST)
  • Digital Performer 8 – 10 (​Mac: AudioUnits & VST; Windows: VST)
  • Studio One 4.5 (Mac: AudioUnits & VST; Windows: VST)
  • Cubase 7 – 10  (Mac & PC: VST)
  • ​Nuendo 6 – 10 (​Mac & PC: VST)

Important Notes: 

  • You need to have a FREE account at ilok.com to be able to register and use purchased versions of any Soundtoys software.
  • This software is 64-bit only and is not compatible on 32-bit systems.

3. Softube Tape – Tape Machine Emulation

by Softube

Tape - Main User Interface

Time to get reel! Softube’s Tape plug-in adds cohesion and weight to your mixes. But Tape goes far beyond your average tape machine emulation. It includes three distinctly different tape machine types, and it offers the ease of use and low CPU strain that today’s music creators rightfully expect. 

Even in this day and age, it’s common practice for computer based professional studios to run their mixes through at least one generation of analog tape. Why? Because even when used subtly, analog tape has a smoothing effect and adds cohesion and weight to a mix—it takes the recording from a collection of individual tracks into a song where everything is connected and works together. With Softube’s Tape plug-in, you can have all that and more.

Three Machines in One 

Tape includes three different tape machine types in one plug-in. Type A is based on a classic Swiss high end reel-to-reel machine, known and loved for its precision and linearity. Type B is much more colorful—it’s a transformer based machine which adds extra weight and cream to the low end. Lastly, Type C is based on a British tape machine with a distinct vintage vibe.

Ease of Use 

Select your favorite tape machine Type, and adjust the Amount knob to taste. In most cases, that’s all you need to do to soak your tracks in analog tape sweetness. Easier still, load up one of the included presets, made by award winning engineers such as Joe Chiccarelli (Beck, U2, Strokes) and Howard Willing (Smashing Pumpkins, Sheryl Crow, Kris Kristofferson).

Feeling tweaky? Why not start by trying the different tape speed settings—you’ll find that the slower the tape speed, the more pronounced is the so-called tape head bump, which adds low end to the mix. Or open the Remote Control panel where you can control the selected tape machine’s speed stability, crosstalk amount and several other tape-a-liscious features.

Dense Sound, Light on CPU 

Add a single instance of Tape on your master bus to emulate what most computer based studios do today—mix in the computer, then mix down to a stereo tape machine—or go vintage style by adding Tape to every single track in your mix. Yes, your computer will be able to handle it. As most Softube plug-ins, Tape is uniquely light on your computer’s processor.

Extras for Studio One Users 

If you run Presonus Studio One, you can not only use Tape as a standard plug-in. Adding Tape to your MixFX slot gives you Tape Multitrack. Tape Multitrack includes all the goodies of Tape, but in addition, you get selectable crosstalk between each individual track—and you can easily control the Tape Multitrack settings from a single interface. The Tape and Tape Multitrack license is one and the same. This means that if you’re not a Studio One user but at some future point decide to switch to that DAW, you will already have Tape Multitrack installed, licensed and ready to go.

In Short

  • Realistic analog tape sound
  • Three tape machine types included
  • Easy to use
  • Low CPU usage
  • Includes Tape Multitrack which can be used in the MixFX slot of Presonus Studio One—adding individual channel crosstalk and single interface control of all tracks

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​


4. Analog Pro

by Initial Audio

Analog Pro

Analog Pro brings to life your digital audio by simulating the way Analog hardware such as tape machines, valves and vinyl turntables warm up and saturate your audio. We recreated the imperfections of playing back audio from a Tape or a turntable via the Wow and Flutter controls. Analog Pro has a variety of user adjustable controls including Noise Level, Noise Type, Impulse Type, Impulse Mix, Emphasis, Stereo, Lowcut, Highcut, Wow, Flutter and Amount, giving plenty of scope for the user to adjust the sound to their liking.

Analog Pro sounds great on real instruments such as pianos and brass and can really make your instruments stand out in your mix, sounding like they are being played back from a Tape or Turntable.

Analog Pro comes with an easy to use and resizable interface, use the Amount knob to control how much Analog Pro affects the signal.

System Requirements

PC:

  • Windows 7 or higher
  • 4GB Ram
  • VST Compatible DAW such as FL Studio, Reaper, Reason, Cubase, Ableton Live, Bitwig, Machine, MPC Ren and many more 

Mac:

  • OSX 10.6 (64-bit only)
  • 4GB Ram
  • VST or AU compatible DAW such as Logic, FL Studio, Reaper, Reason, Cubase, Ableton Live, Bitwig, Machine, MPC Ren and many more​

5. Soundtoys Decapitator Analog Saturator

by Soundtoys

Decapitator User Interface

Analog Saturation Modeler

Subtle to extreme hardware-modelled saturation. The secret weapon of top mix engineers.

Saturation – it’s the essence of what makes analog hardware sound so musical and pleasing to the ears. The sound of tubes, transistors, and circuitry being pushed to the limit has long been the key ingredient in great-sounding analog recordings. Engineers use saturation to beef things up, thin them out, give them edge, add warmth, pull elements out of the mix, and create signature sounds.

From the very subtle to the extreme, analog saturation is an integral part of great mixes. That’s why we took our time, studied all the great analog classics, and painstakingly created a plug-in that brings the best of analog saturation to your digital studio.

With five different analog saturation models to choose from, Decapitator is perfect for adding character to every kind of track and instrument in your mixes. We’ve also included a modelled tone control that lets you shape the saturated sound and a mix control that lets you blend in some dry signal for parallel processing without the need for routing and sub-mixes. Combine all of this with the flexibility and reliability of a Soundtoys plug-in, and you’ve got the best of analog and digital together in one essential effect.

Analog Feel

Decapitator is not just a simple approximation of the analog sound. We’ve worked hard to capture the feel of analog gear. Not a static snapshot, but a changing responsive model of all those tubes, wires and transistors. That means you can hear subtle changes as Decapitator reacts to a track and follows the dynamics of an instrument. That’s what analog is all about.

In creating Decapitator, we collected and analyzed both vintage and modern hardware—consoles, preamps, input channels, EQs, compressors and studio distortion units. We picked the pieces of gear we felt had the most distinctive sound and had unique character when used both subtly and at extremes. Then we created painstakingly accurate models and made them instantly accessible. By adding an analog-modeled tone control and mix knob, we’ve opened up the sonic potential of these models even more.

Bad Boy

Decapitator is capable of some wonderfully subtle sounds, but we know that sometimes subtle just won’t do it. That’s why we’ve added the Punish button, which kicks in an extra chunk of gain to push Decapitator over the edge. When you drive it hard it reacts just like great analog gear—it screams in pain.

And we’re not talking about fizzy stomp-box distortion. Decapitator gives you those unique qualities that only come from driving high-end studio gear. Each model has its own sound of beautiful agony when you hit the Punish button and crank it up. Try it on vocals, drums, guitars, synths—anything that sounds a little too polite!

Features

  • Infuse your tracks with the natural vibe of analog gear
  • Get real, dynamic analog saturation with 5 detailed models of studio hardware
  • Push your tracks over the top with the Punish button
  • Shape the contour of the saturation with analog-modelled tone control
  • Create parallel effects simply with the mix knob

System Requirements

Plug-in Formats (64-bit only):

  • AAX Native, AAX AudioSuite, VST, and Audio Units (AU)

Supported Sample Rates:

  • Minimum: 44.1 kHz, Maximum: 192 kHz

Minimum Requirements:

  • Operating systems: Mac OS X 10.8 or later; Windows 7 or later
  • An internet connection is required at the time of activation
  •  A FREE account at ilok.com is required (a physical USB iLok is not required)

Officially Supported Host Applications

All version 5 Soundtoys products come with 64-bit VST, AU and AAX Native plug-in formats. Here is a list of all of the DAWs (Digital Audio Workstations) that we currently support:

  • Pro Tools 10.3.5 – 2018 (Mac & PC: AAX Native and AudioSuite)
  • Logic Pro 9 & X (​Mac: AudioUnits)
  • Ableton Live 9.2.2 – 10.1 (Mac: AudioUnits & VST; Windows: VST)
  • Digital Performer 8 – 10 (​Mac: AudioUnits & VST; Windows: VST)
  • Studio One 4.5 (Mac: AudioUnits & VST; Windows: VST)
  • Cubase 7 – 10  (Mac & PC: VST)
  • ​Nuendo 6 – 10 (​Mac & PC: VST)

Important Notes: 

  • You need to have a FREE account at ilok.com to be able to register and use purchased versions of any Soundtoys software.
  • This software is 64-bit only and is not compatible on 32-bit systems.

6. Cassette

by Wavesfactory

Cassette

 

Great Things are Timeless

Rewind Back in Time with Cassette

Cassette is an audio plugin that imparts the unique character and sonic imprint of an often maligned recording medium, one that offers a sound like nothing else. This is not a tape machine, this is a time machine.

It’s in Our DNA

An entire generation heard the music that shaped their lives on cassette tape. The Wavesfactory team grew up listening to them at home, on the car or on a walkman. They are not perfect, in fact, they are far from perfect. That’s what they love about them.

A Love Letter to Simple Things

This is Wavesfactory’s tribute to the sound that shaped their childhood. They discovered the passion for music between quirks and random fluctuations. Watching the meters move as they sang into an old microphone. Red peaks and analog saturation. Rewind, listen again.

No Pencil Needed

Cassette is an audio plugin that emulates the sound of vintage cassette tapes and decks. It has been carefully modelled after exhaustive analysis of a high number of sound signals recorded into real tapes. As a result, you get the same sound and behaviour of the original units.

Magnetic tape is not sterile media. Because of that, it will impart its own sound signature to signals recorded into it. These include a different frequency response, frequency-dependent saturation, high-frequency compression, hiss, asperity noise and much more. Reproduction systems will also induce their fingerprint: wow, flutter, random high-frequency loss, crosstalk between channels, stereo unbalances and other.

All of these little quirks and random fluctuations have been modelled meticulously. Cassette imprints instant nostalgia, movement and analog feel all around in its path.

Cassette has been designed to be fun, pleasant to the ear and true to the medium.

Randomness Under Control

There’s much more power under the hood than what you see at a first glance.

There are 4 sections:

  • Tape: I always wanted to have a modular tape plugin in which I could enable or disable each step of the processing.
  • Stability: Control how the Stability parameter in the front panel works internally. Includes “randomness” in order to make things unpredictable and analog.
  • Extra: More of what makes a cassette sound like a cassette. Including the innovative “Re-Cassette” parameter.
  • Artifacts: Control how the Artifacts parameter in the front panel works internally. Includes “Random Snap” for simulating the tape being caught momentarily causing pitch instability.

As you can see in this panel, Cassette uses oversampling in order to get rid of aliasing. The plugin always works at 192KHz sampling rate internally.

What’s your type?

Wavesfactory modelled the four cassettes types available. Each one delivers different sonic characteristics.

  • I: was the standard and most compatible tape format. Featured a ferric-oxide coating (Fe2O3). First appeared in the 1960s.
  • II: with a chromium dioxide (CrO2) formulation was introduced at the dawn of the 1970s featuring an undeniable increase in high frequency response.
  • III: living a short period between the mid 70s and early 80s, the ferro-chrome (FeCr) never made it into the golden era.
  • IV: metal-formulated hit the scene at the end of the 70s. Features firmer bass as well as louder high frequencies.

Changing tapes will have an effect in the frequency response of the plugin but also in the saturation, compression, static noise (hiss) and dynamic noise (asperity noise).

Changelog in Version 1.0.1 Update:

  • Fixed: Pro / Home / Micro buttons now respond to automation.
  • Improved: settings sliders snap to mouse position on click.
  • Added: Artists presets from Torley.

Changelog in Version 1.0.3 Update (14.01.20):

Cassette has been updated to version 1.0.3, fixing compatibility issues with earlier versions of macOS.

System Requirements

Mac OSX

  • 10.7 or higher (64-bit only)
  • DAW capable of hosting VST, VST3 or AU, or Pro Tools.
  • Intel processor.

Windows

  • Windows 7, 8 or 10 (64-bit only)
  • DAW capable of hosting VST or VST3 plugins, or Pro Tools.

Important Note: This software is available in 64-bit format only and will not function on 32-bit systems.


7. Speaker

by AudioThing

Speaker

Overdrive with Speaker Emulation

Speaker is a simple overdrive effect with speaker emulation. It also features a fixed compressor, gain stage and mix knob. Speaker can be used to make any audio source sound as if it’s being played on an old radio. It can also be used to emulate a cheap guitar cabinet or to give harshness to any sound.

Features

  • 3 Speaker emulations: bass, mid, high
  • Overdrive with Gain stage
  • Fixed Compressor
  • Preset system with randomizer
  • Formats: VST, AU, and AAX
  • Platforms: OSX, Windows

System Requirements

Mac:

  • OSX 10.6.8 or later
  • Core Duo 2GHz
  • 2 GB RAM / 500 MB HD
  • Screen resolution: 1024×768
  • VST2, AU, and AAX
  • 64-bit only

Windows:

  • Windows XP SP2 or later
  • Intel Core 2 Duo 2GHz / AMD Athlon 64 or equivalent
  • 2 GB RAM / 500 MB HD
  • Screen resolution: 1024×768
  • VST2 and AAX
  • 64-bit only

8. Bad Tape + FREE Slappy

by denise

Bad Tape + FREE Slappy

How bad can it be?

Go out of tune and of the grid with the Bad Tape from denise.

The Bad Tape is the next plugin from denise audio. denise like to describe it as a tape harming (#tapeharm) effect plugin. Its focus is on creating extreme tape artifacts… and man does it sound bad. The inspiration for the Bad Tape came from denise team member Enrico ‘nrec’ Tiberi: “I was using a lot of my old Akai 4000 DS MK2 reel to reel tape recorder pressing the tape to slow it down as an effect and that made me want a plugin that could control how to break the sound without having to use my fingers each time and without all the cables and fuss that analog hardware inevitably brings”.

Combining a good old vintage tape sound with harming features makes the Bad Tape a very creative and versatile tool. Want an “out of tune and off the grid” beat or a wonky drum groove? Just keep the detune button pressed and it will create a tape-stop in real time. Press it shortly for slight slow-downs and speed-ups, or use wow and shake to make it go in and out of tune and go off-grid periodically. Use the mix knob to create tracks that are heavily saturated and detuned, with additional interesting tape artifacts like hiss, squeal and harm. The Bad Tape can be used to colour and detune your whole track, or it can be applied to just one bar at the end of a section to help introduce some variation and lead in the next section of your song.

Features

  • Mix: Smoothly mix in different extreme tape artifacts with great precision.
  • Detune (Tape stop): Slow down the tape in real time, as if you would press your finger on the tape reel.
  • Wobble & Shake: Randomly detune the pitch of your track like your tape machine has an inconsistent playback speed.
  • Harm: Introduce failing tape artifacts with subtle bitcrushing.
  • Squeal & Noize: Add old tape machine noises for character and vibe.
  • Colour & Speed: Adjust the colour and speed of the tape for a unique flavour.
  • Saturate your tracks for that good old vintage tape sound. Warm and smooth character due to hysteresis emulation.
  • Comes with presets for synth, drums, bass and classic tape style effects.
  • Low CPU usage & works offline without dongles or complex licence managers.

System Requirements

Mac:

  • OSX 10.7 to macOS 10.14 (64-bit only)
  • VST, VST3, AU, AAX

​Windows: 

  • Windows 7 or newer
  • VST, VST3, AAX

9. Reelight

by BeatSkillz

Reelight

‘Reel’ Sound of Tape

Reelight is a tape saturation plugin with many features for getting an authentic tape vibe and also some of the desirable artifacts associated with tape. The plugin authentically emulates tape saturation / compression and overall sound and vibe and was created using Beatskillz own proprietary RTT technology (used in Valvesque).

Features

  • Tape Saturation and Compression Processor
  • Drive the signal to tape
  • Add real tape noise/hiss
  • Adjust tape speed 15/7.5 IPS
  • Low cut – clears up a muddy low-end build up
  • Low boost – add a ‘thick bottom-end’
  • Air – boost high-end separation and clarity
  • Wet/Dry – blend between processed and dry signal

System Requirements

Mac:

  • macOS High Sierra 10.13.6 or later (Catalina not 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

Important note: this software is not compatible with macOS 10.15 Catalina and will not function on this system.


10. Reels

by AudioThing

Reels

REEL TO REEL

Reels is a tape emulation plugin with built-in echo section and tape-stop effect.

Based on an old Japanese portable tape recorder with a very distinct Lo-Fi analog sound, Reels emulates all the imperfections of consumer reel-to-reel recorders.

We have modeled three different 1/4” tape frequency responses and saturations, along with all the analog imperfections of tape recording/playback.

Reels will add a very rough retro analog sound to your mixes. If you are looking for a Hi-Fi mastering tape emulation, this is not the plugin for you!

Portable Tape Recorder

Reels is based on a vintage Japanese reel to reel, ironically marked as High Fidelity, found in a distressed state at a local flea market. Most of these consumer tape recorders, also due to their age, produce has a very rough Lo-Fi analog sound.

During recording or playback, the motor noise somehow bleeds in, along with the usual tape hiss, limiting the actual bandwidth available on the tape.

Reels recreates all the imperfection of consumer reel-to-reel vintage recorders, including:

  • Harshness, harmonic distortion with loss of clarity (mid-range)
  • WOW/Flutter, pitch instabilities due to recording and playback issues
  • Ducking, random volume loss due to tape or rec/play head imperfections
  • Crosstalk, the leak between left and right channel in a stereo signal
  • Hiss, high-frequency noise caused by the magnetic particles in the tape
  • Motor, mid-frequency noise caused by the reels motor

Tape Stop

When pressing stop on a reel-to-reel player, the tape doesn’t stop immediately. Instead, it slows down creating a pitch down and fade out effect. You can replicate this effect with Reels, and you can also control the speed of the tape stop.

Tape Modeling

We’ve modeled three different tape types, from ruined to NOS (new old stock) state.

The tape types are named after the country of origin: JP (Japan), IT (Italy), FR (France).

  • JP Used tape but with an overall better frequency response
  • IT New old stock but with a limited frequency response
  • FR Overused and badly stored, very bad state

Each tape will affect the sound in different ways, especially at higher feedback settings when using the Echo section.

WOW/Flutter, Ducking, and other parameters will also change according to the selected tape, creating different amount of pitch and volume changes.

Features

  • Vintage Tape Emulation
  • Tape Stop Effect
  • Echo Section
  • 3 Tape types
  • Hiss and Motor noise with Envelope
  • Resizable Window
  • Preset system with randomizer

System Requirements

Windows:

  • Windows 7, 8, 10 (64 bit)
  • Intel Core 2 Duo or AMD Athlon 64 X2, 4 GB RAM
  • VST2, VST3, or AAX, 64-bit host

Mac:

  • OS X 10.7 – macOS 10.15
  • Intel Core 2 Duo, 2 GB RAM
  • VST2, VST3, AU, or AAX, 64-bit host

11. Harmonics

by Softube

Harmonics

Harmonics Analog Saturation Processor

Did you ever try to give a track attitude by adding distortion, but then wind up with a washed out, lifeless sound instead? Harmonics, with its never-before-heard approach to dynamics in distortion, is the answer.

Guitars, vocals, drums, bass, even synths often need some extra grunt to push them over the edge, but distortion can destroy dynamics and cause more problems than it solves. Too little and your sound doesn’t cut through and fill its space. Too much and you lose the light and shade, the attack and decay. Transients blend into tails, and detail and definition go out the window.

But with Harmonics, you get much more than just five awesome-sounding analog distortion models. You also get a revolutionary new approach to handling dynamics during the process of distorting the sound. The input signal is listened to and analysed by the plug-in, allowing the dynamics and detail to be preserved and enhanced even after heavy distortion is applied.

Add to that the fact that Harmonics has five totally different-sounding component-modelled distortion styles, high and low cut filters, a mix knob and more, and you end up with a very powerful secret weapon indeed.

Features

  • Five genuinely different component-modelled distortion sounds
  • Revolutionary ‘Dynamic Transient Control’ technology
  • ‘Amount’ knob to control the amount of saturation
  • ‘Character’ knob controls tone or color of the distortion
  • High and low cut filters can be placed before or after distortion
  • Wet/dry blend knob for parallel processing
  • THD meter allows fine control of subtle saturation
  • All of the grunt, none of the drawbacks
  • Includes presets by Joe Chiccarelli and Howard Willing

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. Satin

by u-he

Satin

Tape Construction Kit

We took a journey back to the Golden Age of magnetic tape recording. We wanted to recreate all kinds of tape machines in software, from the ground up. After many months spent on research, measurement and on developing an architecture that would be flexible enough for the job, we knew we had nailed it…

But we couldn’t stop there: We added the old noise-reduction systems that were often (mis)used for timbral compression effects. Then more heads and a global feedback path, which made an uber-tape-delay and realistic ‘one-shot’ tape flanging possible.

Users familiar with analogue recording gear should instantly feel at home with Satin, and digital afficionados will also learn to love the magic of tape – Satin invites you to explore and find out for yourself.

Presets

Satin ships with a wide variety of presets – emulations of classic professional tape machines, cheap ‘n nasty tape machines, tape delays, tape flanging/chorus… and a whole lot more!

Gains

The two large knobs adjust input and output levels – probably the most important controls in Satin!

Metering

Precise visual signal level monitoring is ensured through a combination VU & peak meter, with switchable RMS mode and variable reference level.

Delay

2 or 4-tap delay with variable routing, cyclic modulation, feedback filtering and limiter. Easily create beautiful organic space or precisely synchronized, complex patterns. 

Flanger

Unlike regular LFO-controlled digital flangers, this is the real deal. True tape flanging that legendary ‘swoosh’! Doing this on a pair of real tape machines takes skill and practice – with Satin, you simply activate the Trigger.

Grouping

In Studio mode, you can assign each instance of Satin to one of the eight groups. Each group will behave as a multitrack tape, ‘remote-controlled’ from any instance in that group.

Companders

A choice of encoder and decoder circuits brings back the era of noise-reduction systems that were (mis)used for all kinds of dynamic and spectral effects, including the legendary ‘A-type vocal trick’.

TapeControls

Satin’s speed control is continuously variable from 7.5 up to 30ips – it even re-adjusts the entire machine model as you tweak. Pre-emphasis allows for precise control over transients, tone and fidelity.

Service Panel

Satin lets you get seriously technical whenever you want: adjust numerous attributes of the tape, the heads and the surrounding circuitry. A handy analyzer makes alignments such as biasing easy and precise.

Features

  • Mix-and-match emulation spans all major historical developments in tape technology
  • Control multiple instances from one panel – ‘glue’ multiple tracks together
  • High-quality: internal sample rate up to 384kHz, continuous tape speed control
  • All the ‘goodness’ of tape (saturation, transient-smoothing, HF compression etc.)
  • Full control over the ‘badness’ (head-bump, wow&flutter, asperity noise, hiss etc.)
  • Record / repro EQ standards (separately selectable), classic NR compander standards
  • Extra FX modes: through-zero tape flanging, host-synchronizable 4-tap stereo delay

System Requirements

  • Current PC or intel Mac
  • Multicore CPU with SSE2 (Sandy Bridge architecture or newer recommended)
  • Mac OSX 10.5 or newer
  • Windows XP/Vista/7/8
  • 1GB RAM, more recommended
  • 30MB free disc space
  • Display 1000x600px and up
  • OSX: VST2 or AU compatible host software
  • Windows: VST2 compatible host software
  • Supports 32bit and 64bit in all formats
  • NEW: AAX support for Pro Tools 10 & 11

13. Radiator

by Soundtoys

Radiator

Tube Warmth For Your Mix

Vintage vibe, drive, and the magic tone of the 1567a tube mixer. A beast on bass and drums.

Introducing Radiator, a dual drive tube input channel and EQ, based on the classic Altec 1567A tube mixer from the 1960s.

The original Altec 1567A hardware was a rack-mounted five-input tube mixer with removable transformers, a simple two-knob EQ, an unmistakable green faceplate, and a whopping 97 dB of gain. The sound, by today’s standards, is coloured and gritty, with a heaping helping of good old-fashioned hardware noise. In its day, it was used on many early Motown hits and found its way into the PA racks of countless churches and school auditoriums across the USA.

A Bit of History

The unmistakable green-faced Altec gear, and in particular the 1566A and 1567A, played a big part in shaping the early “sound” of Motown between 1961 to 1964. Songs by greats like The Four Tops, The Marvelettes and The Supremes went through a 1567A mixer to the massive three-track recorder. Ahhh, when life was simple.

These mic preamps and mixers have a very coloured warm sound and are very loud. The EQ is as simple as it gets, with one knob for bass, and another for treble. After Motown, and after much gear came and went, analog diehards began seeking out the 1566A and 1567A as inexpensive sources for real tube sound.

Motown Records Chief Engineer, Russ Terrana, used the 1567A extensively and it became part of the distinctive Motown sound. Producer Matt Wallace was a very big fan. Butch Vig and Billy Bush are also fans.

Radiator brings the classic Altec tube sound to desktop recording rigs, capturing the distinctive warmth and punch of the original hardware. Featuring the modelled bass and treble tone controls from the original unit, a mix control for easy parallel processing, and the saturation and harmonic effects of the original hardware’s input and output amplifiers.

All of these different circuit elements interact, allowing a wide range of tones to be created with just a few simple knobs. Plus we let you decide if the original noise is on or off.

Over the past few years, the Altec mixers have been picked up by recording studios as an inexpensive way to bring analog colour and character to computer-based digital recording. With producers like Matt Wallace of early Maroon 5 fame utilizing the 1567A on their early hits, and now bands like the Black Keys (who had a custom console made from Altec 1567A’s) the demand, and price, for these funky little colour boxes have soared.

Computer recordists everywhere can now get the Altec tube sound – on every input channel, without the hassles of interfacing to esoteric analog gear, and at a much lower cost. Radiator also includes Little Radiator, a simpler single-stage tube pre-amp model based on the Altec 1566A hardware, the little brother of the Altec 1567A.

Features

  • Analog modelled tube mixer with EQ
  • Independent input and output amplification stages each add their own character
  • Bring the sound of a Motown era classic to your DAW
  • Load the transformers two different ways with the Mic/Line switch for different sounds

System Requirements

Plug-in Formats (64-bit only):

  • AAX Native, AAX AudioSuite, VST, and Audio Units (AU)

Supported Sample Rates:

  • Minimum: 44.1 kHz, Maximum: 192 kHz

Minimum Requirements:

  • Operating systems: Mac OS X 10.8 or later; Windows 7 or later
  • An internet connection is required at the time of activation
  •  A FREE account at ilok.com is required (a physical USB iLok is not required)

Officially Supported Host Applications

All version 5 Soundtoys products come with 64-bit VST, AU and AAX Native plug-in formats. Here is a list of all of the DAWs (Digital Audio Workstations) that we currently support:

  • Pro Tools 10.3.5 – 2018 (Mac & PC: AAX Native and AudioSuite)
  • Logic Pro 9 & X (​Mac: AudioUnits)
  • Ableton Live 9.2.2 – 10.1 (Mac: AudioUnits & VST; Windows: VST)
  • Digital Performer 8 – 10 (​Mac: AudioUnits & VST; Windows: VST)
  • Studio One 4.5 (Mac: AudioUnits & VST; Windows: VST)
  • Cubase 7 – 10  (Mac & PC: VST)
  • ​Nuendo 6 – 10 (​Mac & PC: VST)

Important Notes: 

  • You need to have a FREE account at ilok.com to be able to register and use purchased versions of any Soundtoys software.
  • This software is 64-bit only and is not compatible on 32-bit systems.

14. Saturate

by Eventide

Saturate

Saturate is the Spectral Clipper algorithm made popular in the Elevate Mastering Limiter. Saturate’s two controls belie a sophisticated signal processing engine which allows it to overdrive a signal without effecting the tonal balance no matter how hard you push it. Add up to 24 dB of overdrive without creating a “tubby” or muffled sound. Additionally, the SHAPE control allows you to smoothly morph between hard clipping and the mathematically smoothest curve possible. Use Saturate to overdrive individual tracks or your entire mix.

Saturate is also available in the Eventide Elevate Mastering Bundle.

Features

  • Smoothly adjust from the softest to the hardest possible clipping shape
  • Spectral Clipper maintains tonal balance for an always pleasant saturation sound
  • Independent INPUT and OUTPUT levels, with AUTO output level scaling for easy and precise gain scaling
  • Saturation Curve Display and Meter shows you how your signal is hitting the selected clipping shape
  • Mastering Quality Input and Output metering show you both peak and rms levels

System Requirements

Windows 7+

  • AAX 32/64-bit
  • VST2 32/64-bit
  • VST3 32/64-bit

macOS 10.9+

  • AAX 32/64-bit
  • AU 32/64-bit
  • VST2 32/64-bit
  • VST3 32/64-bit

Eventide test their desktop plugins in Ableton Live, Cubase, FL Studio, Logic Pro, Pro Tools, and Studio One. However, their plugins should work with any compatible host.


15. Valves

by AudioThing

Valves

Vintage Tube Overdrive

Valves is a vintage valve emulation plugin with multimode resonant filter and cabinet/EQ section.

Loopcloud Music App from Loopmasters.com

The valve section is modelled after classic vintage tubes, with added grit and custom gain control.

The filter section is modelled after a classic ladder filter (2-pole or 4-pole) with low pass, high pass, bandpass and notch modes.

The cabinet/EQ section features a selection of modelled cabinets with classic bass and treble EQ controls.

Warm-Up

With up to 16x oversampling, Valves can be used to add that authentic tube character to your tracks.

Using the built-in Cabinet/EQ section you can emulate several types of guitar amplifiers and further shape the overdrive sound.

The state variable filter features LowPass, HighPass, BandPass, and Notch modes. It can be used pre or post valve.

Features

  • Tube Overdrive
  • 8 cabinets with Bass and Treble EQ
  • State Variable Filter: LP, HP, BP, and Notch (2 or 4-pole)
  • 16x Oversample
  • 35 Presets
  • Resizable Window
  • Preset system with randomizer

System Requirements

Windows

  • Windows 7, 8, 10 (64 bit)
  • Intel Core 2 Duo or AMD Athlon 64 X2, 4 GB RAM
  • VST2, VST3, or AAX, 64-bit host

Mac

  • OS X 10.7 – macOS 10.14
  • Intel Core 2 Duo, 2 GB RAM
  • VST2, VST3, AU, or AAX, 64-bit host

16. God Mode + FREE Slappy

by denise

God Mode + FREE Slappy

God Mode

Let There Be Distortion

The God Mode introduces a new push-pull technology giving you full control over what frequencies to saturate and distort. Its node EQ graph and linear phase filters allow for unlimited options to shape the colouration of your sound.

The God Mode makes use of a push-pull technology inspired by the legendary analogue Pultec EQ, a passive tube eq from the 50s, widely used in the 70s/80s for both broadcasting and mixing. The Pultec EQ would ‘push’ the gain for a certain frequency range into its tube circuit, and would then ‘pull’ it back again, to smooth out the frequency response. This creates a sound close to the original but with a nice warmth added to the boosted frequency ranges. God Mode introduces a modern version of this technique.

The first step to using God Mode is to boost or ‘push’ certain frequencies in your track that you like to be more saturated or distorted. You can, for example, use one shelf to boost the highs and one peak to boost a certain colour or resonance. Because you push these frequencies harder into the saturation algorithm, they will be naturally more affected by it. The second step is to decide if and how much ‘pull’ to apply to the boosted frequencies. This gives you creative control over the amount of colouration and the option to create a perfectly balanced frequency response for your track. The result: a beautifully saturated signal, specifically coloured according to the frequencies ‘pushed’.

The God Mode doesn’t stop there though. It has a ‘live’ mode for recording, that uses regular filters without latency instead of linear phase filters. It has a side-chain to create rhythmic distortion effects, and you can pan the wet and dry sound individually. In addition, one of the three drive effects uses a ‘on steroids’ version of the Tape Analog VM™ algorithm from the Bad Tape. It allows for subtle saturation on the master as well as crazy over the top distortion effects on bass, vocals and synths.

Features

  • Super easy to use Graph
  • Unique Push & Pull technology
  • Tape Analog VM™ algorithm on steroids also featured in denise’ Bad Tape plugin
  • Linear Phase Filters: Pristine sound quality and in-phase dry/wet mixing
  • Individual dry/wet panning
  • Live recording Mode
  • Create rhythmical drive with the ‘side-tape’ side chain
  • Subtle to extreme use on single track instruments, busses & mastering

System Requirements

Mac

  • OSX 10.7-10.15
  • VST, VST3, AU, AAX (64-bit only)

PC

  • Windows 7 and higher
  •  VST, VST3, AAX (64-bit only)

17. U78 Saturator

by Audified

U78 Saturator

Valve Saturating Plugin Based on the Circuitry of the Famous U73b Compressor

Almost anything is possible in the digital world. With the right skills and technology you cn create absolutely anything you like… like the U78 Saturator. So we took the circuitry of the legendary U73b compressor and played around a bit to come up with some seriously satisfying saturation!

More than Modeling

To start with, we removed our award-winning U73b Compressor plug-in’s compression function. Filters were added, together with the tone control, and, finally, a strong gain control completed the U78 Saturator. We kept the heart and soul of the machine to deliver the beautifully musical tube sound. The result is a saturator that sounds like no other. The U78 Saturator is even better than the real thing, being blessed with the things that dreams are musically made of. 

Features

  • Gain – adjusts the input gain of the saturation circuit. (The higher the settings, the more rich the sound that can be achieved) 
  • HiPass – sets the cutoff frequency of the high-pass filter, which comes before the saturation circuit in the signal path. (The range is from 30 Hz to 800 Hz – turn the knob to minimum to turn off the HiPass filter) 
  • LowPass – sets the cutoff frequency of the lowpass filter, which comes before the saturation circuit in the signal path. (The range is from 1 kHz to 8 kHz – turn the knob to maximum to turn off the LowPass filter) 
  • Tone – controls the U78 Saturator’s unique tone filter. (Lower settings produce darker sounds with more low frequency content; conversely, higher settings result in brighter, sparkly sounds) 
  • Mix – controls the dry and wet signal ratio. (The dry signal is delayed to match the wet signal path latency to prevent phasing issues)

The Presets

The plug-in is mainly intended to be used on bass, drums and vocals, but creativity knows no boundaries. The presets for the device are prepared by experienced producers such as Baby Brown (represented in the preset list with BB initials) or Boris Carloff (BC).

System Requirements

MAC:

  • OS X 10.9 – Mac OS X 10.14

Formats:

  • AAX for Pro Tools (32/64-Bit) 
  • Audio Units – AU (32/64-Bit)
  • VST2 (32/64-Bit)
  • VST3 (32/64-Bit)

PC:

  • Windows 7 – Windows 10

Formats:

  • AAX for Pro Tools (32/64-Bit) 
  • VST2 (32/64-Bit)
  • VST3 (32/64-Bit)

Note: U78 Saturator is iLok protected – the USB hardware key is not necessary. Only a FREE iLok Account/License Manager is required, which is available at iLok.com.


18. MSaturatorMB

by MeldaProduction

MSaturatorMB

MSaturatorMB is a powerful multiband saturation/distortion processor. It can be smooth as glass, hard as rock, or creamy as butter. Its modulation system goes far beyond what you could have thought possible. All this with unbelievable audio quality that will blow you away.

Features

  • Dual user interface – the plugin is not only extremely versatile, but also quick and easy-to-use thanks to 2 graphical user interfaces. First there is a simple default one with several predefined modes, but just a few controls, which lets you start quickly and easily without any knowledge. All you need to do is choose what you want and use a few knobs. And the plugins also has an advanced mode, which provides all the extreme features the plugin offers.
  • 1-6 fully configurable independent bands built on 3 perfectly transparent crossover algorithms (analog, linear-phase and hybrid) with fully adjustable limits and input gains. Includes peak meters for all bands and the master.
  • Continuously adjustable oscillator shape – every oscillator in our plugins is defined by a mix of predefined oscillator shapes, custom waveforms edited using our MeldaProduction Envelope System (MES), step-sequencer and several methods for algorithmic postprocessing. It is the most advanced approach for defining oscillator shapes.
  • 4 global modulators – in each instance you can have up to 4 fully-featured modulators that can modulate any set of parameters including other modulators! In this way you can make the sound move in time, be less static and more interesting. Each modulator works as LFO, follower, midi/audio triggered ADSR envelopes, a pitch detector or even a combination.
  • Up to 8 channels surround processing – our plugins can handle not only mono and stereo signals, but also up to 8 channels of surround audio, making them ideal for audio production for movies, games etc.
  • Full randomization – using a single button you can generate completely new settings. By clicking the button you can walk through the billions of possible settings and find the best one for you! And if that’s too much, you can just hold ctrl and MSaturatorMB will only slightly modify existing settings.
  • Adjustable up-sampling 1x-16x to minimize aliasing and get an even clearer sound.
  • Extremely advanced and easy-to-use user interface – our products are always designed to enhance the workflow. You can easily change all values, fine-tune each control in multiple ways. Easy orientation in a standardized GUI, textual editing and smooth visualization with almost unlimited zooming are standard in all of our plugins. Moreover our plugins are the world first (and still the only ones), which support resizable and stylable GUI’s.
  • Automatic synchronization to host tempo – every oscillator and modulator in the plugin can automatically synchronize to the host providing as natural a sound as possible while not offending other tracks.
  • MIDI controllers with MIDI learn – you can map any parameter to any MIDI controller or MIDI keyboard and control it realtime or record and automate it.
  • Very fast, optimized for SSE and SSE2 processors.
  • Global preset management and online preset exchange – using a title button you can save your settings (which are shared on the computer) so you can easily access these in other songs. Moreover all plugins can automatically share your presets and download presets of other users from our servers (if this feature is enabled). We are building a community and you can be a part of it!
  • Fully automatable.

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!
 
64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.
 
Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Note: Please check your product PDF documentation for more information and installation instructions.


19. VocalMint Saturator

by Audified

VocalMint Saturator

Take a Mint and Sound Better

One Knob Valve Saturation Shaper for Vocals

Easy-to-use vocal saturator with powerful processing hidden under the hood. 

Most one-knobs do one thing and one thing only: they linearly mix in a certain effect to your track. However, VocalMint runs the track through its virtual signal chain and tunes multiple parameters of the voice at once. It does it under the hood and without disturbing your creative process.

Features

  • Designed for voice.
  • Perfect for podcasts.
  • One knob solution.
  • Analogue vibe and dynamics.
  • Unique tone shaping.
  • Time-saver.

Overview

  • Intuitive Yet Complex Tool – Learning to use VocalMint Saturator is a matter of seconds. Yet under the surface this plug-is a powerful beast. It does not only saturate your track, but it also shapes it using its pre-tuned algorithms.
  • Saturation – Valve saturation is not a linear phenomenon and therefore neither the taper of the VocalMint is linear. It is cleverly optimized for mixing human voice and it is exceptionally usable across the whole range of the knob.
  • Pre-tuned Shaping – Audified did the research for you. Building on their music production experiences, Audified carefully picked the whole saturation chain including equalization and voilá… All you have to do is turn the knob and enjoy the results. The EQ shaping starts subtle but becomes increasingly more powerful when adding saturation by turning the knob clockwise.
  • Visual Layout – The plug-in menu can be closed or opened for additional controls such as a Zoom option or a dBU/ dBFS Calibration. The latter acts as a bias of the virtual valve circuit and therefore influences the amplitude at which the saturation starts to be more audible. When set at 0.0 dBFS, the plug-in will saturate less than when calibrated say at -24.0 dBFS. Factory default setting is -9.0 dBFS.

System Requirements

Mac

  • Mac OS X 10.9 – Mac OS X 10.15
  • AAX, AU, VST2, VST3 (64-bit only)

PC

  • Windows 7 – Windows 10
  • AAX, AU, VST2, VST3 (32/64-bit)

20. Voxengo CRTIV Tape Bus

by Voxengo

Voxengo CRTIV Tape Bus

CRTIV Tape Bus AAX, AudioUnit and VST plugin for professional music production applications recreates characteristic elements of the reel-to-reel tape sound.  This includes saturation, modulation noise and smearing effects which are known for the “analog” feel they bring to audio recordings.  This plug-in also applies a selected impulse response taken by us from the existing tape machines.  Great for mid-high frequency smoothing.

In CRTIV Tape Bus you can choose between 4 distinct tape impulses, 2 flutter noise modes, and several “overload protection” circuitry modes.

Applications

  • Tape saturation effect
  • Hardclipper

Features

  • Saturation controls
  • Tape medium controls
  • “Overload protection” modes
  • Preset manager
  • Undo/redo history
  • A/B comparisons
  • Contextual hint messages
  • All sample rates support
  • 1 ms compensated processing latency
  • User interface color schemes
  • Resizable user interface
  • Retina and HighDPI support

System Requirements

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.  Plugins with AAX version available can be loaded in ProTools 12+.

This plugin is compatible with Windows (32- and 64-bit Windows XP, Vista, 7, 8, 10 and later versions) and macOS (10.7 and later versions, 64-bit Intel processor-based) computers (2.5 GHz dual-core or faster processor with at least 4 GB of system RAM, SSE4.2 instructions support required, e.g. any Intel Core i-, AMD Bulldozer- or Zen-based processor).  A separate binary distribution file is available for each target computer platform and audio plugin specification.

Compatible Windows and macOS software: Cubase, Logic Pro, ProTools, Ableton Live, Reaper, Presonus Studio One, FL Studio, Cakewalk, Nuendo, WaveLab, GarageBand, Vegas, SoundForge, Audition, Samplitude, Digital Performer, Mixcraft, Bitwig Studio, Edius, others.

Note: If you cannot get plugin to work on macOS High Sierra/Mojave, you have to logout from the system and login again, it’s a known issue not caused by plugin’s own bug.


21. Boost X

by Initial Audio

Boost X

Smart Saturation

Boost X is a dynamic and smart Saturation/Overdrive plugin. Used to make any sound warmer by adding extra harmonics.

Many other Saturation/Overdrive plugins use a static (stateless) algorithm that doesn’t change depending on the audio passed through. These effects rely on a gain boost, when the audio hits a certain threshold then Saturation is applied. They are either on or off and the amount of saturation is heavily dependent on the loudness of the audio passed into them.

Boost X is different, it reacts to the input audio and applies the perfect amount of saturation at the current loudness. This means even quiet sounds can be overdriven without any gain in loudness. Boost-X also compensates for perceived loudness, bringing the loudness down even further so you get nice rich harmonics added to your sound, without destroying the balance of your mix.

Boost X gives your sounds a rich depth and warmth that sits well in your mix, bringing your vocals and instruments to life with a true analog warmth and feel. Get it with Boost X – Dynamic Saturation.

Features

  • Dynamic saturation – Stateful saturation which dynamically responds to the input signal.
  • 16 times Oversampling – For maximum aliasing repression and highest quality sound.
  • 7 Saturation types.
  • Large amount knob for fine control.
  • High definition resizable GUI.

System Requirements

PC

  • Windows 7 or higher (64-bit only)
  • 4GB Ram
  • VST compatible DAW

Mac

  • OSX 10.6 or later (64-bit only)
  • 4GB Ram
  • VST or AU compatible DAW

22. Voxengo VariSaturator

by Voxengo

Voxengo VariSaturator

VariSaturator is an audio effect AU and VST plugin designed to apply saturation effects to audio material.  VariSaturator can be used both to boost the loudness of the audio tracks without increasing their peak levels proportionally, and to apply subtle harmonic coloration that makes tracks sound more pronounced and polished.

VariSaturator features two saturation modules which are applied in sequence, in two-band mode each.  The valve saturation module applies asymmetric valve processing that closely resembles sound of a high-quality valve amplifier cascade.  Another saturation module VariSaturator features is a digital “waveshaping” saturator with feedback topology.  This module applies smooth two-band saturation which can amplify signal level and apply desirable harmonic coloration.  If you have some “muffled” track in the mix that needs to cut through the mix better, VariSaturator will help you in this case easily.

VariSaturator can be used in a variety of audio processing cases: you may apply it with good results over drum, bass and vocal tracks, over sub-mixes and of course over complete mixes.

Applications

  • Strong harmonic enhancer
  • Mix saturator
  • Track saturator
  • Drum bus compressor
  • Stereo, mid-side, 5.1 processor

Features

  • Two-band processing
  • Stereo and multi-channel processing
  • Mid/side processing
  • Preset manager
  • Contextual hint messages
  • Crossover steepness switch
  • Internal channel routing
  • Up to 8x oversampling
  • Undo/redo history
  • All sample rates support
  • Valve and digital saturation
  • Channel grouping
  • 64-bit floating point processing
  • A/B comparisons
  • Zero processing latency

System Requirements

This plug-in is compatible with Windows (32- and 64-bit Windows XP, Vista, 7 and later versions) and Mac OS X (10.5 and later versions, 32- and 64-bit, Intel processor-based) computers (2 GHz dual-core or faster processor with at least 1 GB of system RAM required). A separate binary distribution file is available for each target computer platform for each audio plug-in specification.

Compatibility

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.

RTAS compatibility is available by using the FXpansion VST-RTAS adapter.


23. Voxengo Powershaper

by Voxengo

Voxengo Powershaper

Powershaper is a saturation, distortion and overdrive effect plug-in for professional music production applications.  Powershaper’s approach to saturation is quite unique as it works in multi-stage manner utilizing dozens of saturation stages in a specified variation.  While Powershaper was designed to apply extreme saturation, it can be also used to boost presence of audio tracks subtly.

The flexibility of this saturation plug-in is most apparent when applying saturation to the drums: it is possible to dial settings that retain or even extend the punch while applying strong pleasant coloration and presence effect.

Powershaper can be used to apply saturation with good results to various sounds: vocals, drums, bass, guitars, synths, mixes.  This effect is, however, quite CPU-intensive, especially during continuous parameter changes, and requires a higher-end processor for comfortable use.

Applications

  • Saturation effects
  • Extreme overdrive
  • Mix saturation
  • Presence booster

Features

  • Multi-stage algorithm
  • Algorithm variations
  • Stereo processing
  • Preset manager
  • Undo/redo history
  • A/B comparisons
  • Contextual hint messages
  • All sample rates support
  • Zero processing latency
  • User interface colour schemes
  • Resizable interface
  • Retina and HighDPI support

System Requirements

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.  Plugins with AAX version available can be loaded in ProTools 12+.

This plugin is compatible with Windows (32- and 64-bit Windows XP, Vista, 7, 8, 10 and later versions) and macOS (10.7 and later versions, 64-bit Intel processor-based) computers (2.5 GHz dual-core or faster processor with at least 4 GB of system RAM, SSE4.2 instructions support required, e.g. any Intel Core i-, AMD Bulldozer- or Zen-based processor).  A separate binary distribution file is available for each target computer platform and audio plugin specification.

Compatible Windows and macOS plugin software: Cubase, Logic Pro, ProTools, Ableton Live, Reaper, Presonus Studio One, FL Studio, Cakewalk, Nuendo, WaveLab, GarageBand, Vegas, SoundForge, Audition, Samplitude, Digital Performer, Mixcraft, Bitwig Studio, Edius, others.

Note: If you cannot get plugin to work on macOS High Sierra/Mojave, you have to logout from the system and login again, it’s a known issue not caused by plugin’s own bug.


24. Voxengo CRTIV Shumovick

by Voxengo

Voxengo CRTIV Shumovick

CRTIV Shumovick AU, AAX and VST plugin for professional music production applications produces a creative dynamic noise-floor padding effect. This effect is most effective on beats and synth sounds used in electronic music production – EDM, hip-hop and the like. The noise-floor effect created by this plug-in is correlated to the spectral content of the sound being processed.

As a result, on beats, this creates mellow noise bursts that make bass drums sounds a lot softer, with a bit of stereo-field enhancement effect. On synths, on the other hand, the noise-floor effect may boost the power and density of the sound. Shumovick can be also effective when used on sterile-sounding basslines where it can add a bit of “pillowy” noise background. In practice, Shumovick can be also used on acoustic drum buses adding “vintage” feel and aggression to them. Shumovick can be also used on full mixes in some music genres.

Features

  • Noise-floor signal envelope controls.
  • Noise-floor signal equalization.
  • Selectable processing band count.
  • 64-bit floating-point processing.
  • Preset manager.
  • Undo/redo history.
  • A/B comparisons.
  • Contextual hint messages.
  • All sample rates support.
  • Zero processing latency.

System Requirements

  • Windows XP, Vista, 7, 8, 10 and later (32/64bit)
  • macOS 10.11 or later
  • 4 GHz or faster processor with at least 4 GB of system RAM (2.5 GHz dual-core minimum).
  • A separate binary distribution file is available for each target computer platform and audio plugin specification. 
  • If supported on a specific processor, the plugin may internally utilize AVX2-optimized code.

Compatible Windows and macOS DAWs:

  • Cubase
  • Logic Pro
  • ProTools
  • Ableton Live
  • Reaper
  • PreSonus Studio One
  • FL Studio
  • Cakewalk
  • Nuendo
  • WaveLab
  • GarageBand
  • Vegas
  • SoundForge
  • Audition
  • Samplitude
  • Digital Performer
  • Mixcraft
  • Bitwig Studio
  • Edius

Note: CRTIV Shumovick is a relatively CPU-demanding effect plug-in, so it requires a higher-end computer processor for comfortable use. However, the CPU requirements can be lowered by adjusting the plug-in’s processing band count.


25. Halcyon

by SoundSpot

Halcyon

Some of the greatest recordings of all time come from the analogue age, boasting a warm and pleasing sonic character, but how can this be achieved in the digital domain? Simple – use saturation to add harmonics.

Whether you are using a little to add a touch of warmth, or driving the signal hard to create dirty and distorted sounds, saturation plays a key role in every great production. 

But not all saturation tools are created equal, and all to often producers find themselves stacking a combination of various saturation plugins, to get the sound they are searching for or control the need.

At SoundSpot® we decided that a one stop shop for saturation was needed, and began developing a plugin that would deliver amazing sound quality and character with all the control you need.

The Halcyon boasts a huge amount of control, allowing you to truly tailor the sound of your harmonic saturation. From smooth tape to warm tube and everything in between, the Halcyon can breath life into your productions and make them sound fantastic.

Visual Feedback

Sometimes a little visual feedback can be very useful in making the right decisions in your mix, and whilst we are strong advocates of “Trust Your Ears” we also understand that most listening environments in the age of bedroom production will be far from perfect. 

We felt that in the case of saturation, being able to see what you are adding and where would be extremely useful to most users, so with that in mind, we developed an analyser that displays a second frequency chart, showing the additional harmonics being added.

Selecting Your Range

You won’t always need to add saturation to the entire spectrum of a sound, so we created a simple and quick way to target an area of the frequency range. Just drag the yellow tabs to where you want the effect to begin and end, it’s that simple.

Quick Start Presets

When you’re in a hurry to complete a mix, the quick templates are just the ticket to get you in the right direction. Just navigate through Drums, Bass, Guitar, Synth and Vocal to get a starting point to speed up your work flow.

Mid/Side & Drive Drive Control

So you’ve got the frequency range selected, now it’s time to add the magic. Just turn the drive control up to start adding saturation, then use the mid/side outer ring to obtain the desired balance for the effect.

Attack, Release & Makeup Gain

Saturation is fundamentally compression, and as such the best way to control how it behaves is through attack and release parameters. These controls allow you to create every conceivable kind of saturation you desire. You can even use the Halcyon as a character compressor or a brick wall soft clip limiter, to smooth out vocals or glue sub groups together. You can use the makeup gain control to compensate for the saturation boost if required.

LFO

Movement in your production is crucial in order to keep the listener engaged and using the Halcyon LFO to add movement over time to the just the ticket to keep things interesting. The LFO controls only the saturated signal creating a truly unique effect. This effect yields great rewards on drums, as you can use the LFO combined with range to create a distinct groove to your percussive sounds.

System Requirements

Mac

  • 10.12 – 10.14 (Catalina not supported)

Formats:

  • VST
  • VST3
  • AU
  • AAX (Pro Tools 11.0.2 or higher)

Specification Requirements:

  • RAM: 8 GB RAM or more is recommended. Plus at least 8 GB hard disk space for installation.
  • Processor: Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Licensing: Internet access for activating licence key. Please ensure any outgoing connection blockers are deactivated.
  • Sample Rates: Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

Windows

  • Windows 7, 8 or 10 (32 & 64-bit)

Formats: 

  • VST
  • VST3
  • AAX (Pro Tools 11.0.2 or higher)

Specification Requirements:

  • RAM: 8 GB RAM or more is recommended. Plus at least 8 GB hard disk space for installation.
  • Processor: Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Sample Rates: Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

26. Punisher

by denise

Punisher

Add Colour with Tape-Style Saturation

Punisher is tape-style saturator with a unique way to control the colouration of the drive effect. You can use it to add flavour and character to synths, vocals and drums, or to entire beats or mixes.

Most saturator plugins have very limited features for affecting the colouration of the drive effect. Punisher uses a unique internal push/pull equalizer curve to tailor your saturation effect to your track. This way you can, for example, only target the high end of a drum beat, preserving the kick transients in a very natural way. Or only target the mid-range of a synth to retain its definition.

Punisher is part of the upcoming denise ‘God Mode’ plugin, that allows full control over the internal push/pull equalizer curve and a blend of three different distortion types.

Features

  • Tape-style saturation.
  • Shape the colouration of your drive effect.
  • Unique push/pull EQ curve.
  • Smooth EQ curve transitions.
  • Easy to use.

System Requirements

Mac

  • OSX 10.7-10.14
  • VST, VST3, AU, AAX (64-bit only)

PC

  • Windows 7 and higher
  •  VST, VST3, AAX (64-bit only)

27. STA Preamp 2

by Audified

STA Preamp 2

Adding 5 types of valve saturation to your tracks, preamp is the core effect of the Summing Tube Amplifier series.

The Tube Heart

STA (Summing Tube Amplifier) uses two signal paths, one is processed by modulation or spectral change and the other is not processed. These two signals are mixed on a vacuum tube. That gives “ordinary” effects like Flanger or Phaser, really unique and warm character. 

The valve saturation colour depends on the Mode selection. Changing the type of the tube circuit, affects the tube working point and frequency response.

5 valve circuit modes available 

  • P – Presence – the higher amount of mid-high frequencies allows better cutting through the mix. 
  • V – Vintage – has smoother highs and more even harmonics. 
  • B – Brown – has almost flat response with only light high frequencies roll off and nice higher harmonics punch. 
  • W – White – has higher amount of higher frequencies and the ratio between the even and odd harmonics is balanced. 
  • L – LoFi – contains less low and high frequencies. 
  • We are making our plugins as real as possible with all the natural analog feeling and side effects.

There is some low frequency noise in some tube modes. It is a natural result of the tube configuration we are using in STA.

System Requirements

Mac

  • Mac OS X 10.9 – Mac OS X 10.14
  • AAX 32b, AAX 64b, AU 32b, AU 64b, VST2 32b, VST2 64b, VST3 32b, VST3 64b

Windows

  • Windows 7 – Windows 10
  • AAX 32b, AAX 64b, VST2 32b, VST2 64b, VST3 32b, VST3 64b

28. Helper Saturator

by W.A Production

Helper Saturator

Saturator

Note: The Helper 3in1 Bundle is also available.

Helper Saturator is an audio effect VST plugin professionally designed to apply saturation to the audio signal. Helper Saturator is not just a simple saturation plug- in, it also comes with 2 filter features, 2 types of saturation modules and ability to be able to process 5 different types of audio signal.

With Helper Saturator, you have 2 options of saturation to use on your sounds. It features 2 saturation modules, which are Tube distortion and Tape distortion. They both add analog “warmth” to your sounds without over-distorting them. Helper Saturator can be used in varieties of audio mixing cases: you may use it to get good results with drums, bass, and vocal tracks, over sub-mixes and of course over complete mixes.

With its both low pass and high pass filter modules, you’ll be able to cut off unwanted frequencies from the saturated audio signal. The possibilities are endless as you use the filter modules for creative purposes such as crafting new unique sounds. With the input and output gain control, proper gain staging can be done before and after the saturation process. You can choose to saturate different types of audio signal from the audio source – Stereo, Mid, Side, Left & Right.

Features:

  • Analog Saturation
  • Simple user interface (stylish & easy to use)
  • Clean filter modules

System Requirements

Mac

  • Mac OSX 10.7 and later (32 & 64-bit) 

Formats:

  • Audio Units (AU)
  • VST
  • VST3

Windows

  • Windows 7 and later (32 & 64-bit) 

Formats:

  • VST
  • VST3

29. Pumper Saturator

by W.A Production

Pumper Saturator

The Saturator Module of Pumper

Pumper Saturator is going to be your next go-to plugin for distortion and saturation.

The Saturator is second to none in giving your tracks the added warmth and depth that they need. The Saturator also creates a killer edge that you need in a modern world of recording, instant power and body for your sound!

With its easy-to-use graphic interface, you’ll be able to saturate and add some warmth to your sounds with just one knob, it’s just as easy as that. It can go from a light saturation to full-on distortion when you increase the amount of the saturation. It just sounds great on any sounds, including vocals, drums, bass and more!

Features

  • Rich analog sound
  • Easy to use saturation

System Requirements

Mac

  • Mac OSX 10.7 and later (32 & 64-bit) 

Formats:

  • Audio Units (AU)
  • VST
  • VST3

Windows

  • Windows 7 and later (32 & 64-bit) 

Formats:

  • VST
  • VST3

30. Megaphone

by AudioThing

Megaphone

Bullhorn / Loudspeaker Emulation

Megaphone is a plug-in that emulates a bullhorn/loudspeaker effect, which features two loudspeaker emulations, feedback (slapback) control and a noise section. Megaphone can be used to make any audio source sound as if it’s being played by a bullhorn.

Feedback

Feedback

The feedback section is essentially a slapback effect. When using megaphones, the output of the loudspeaker can be captured again by the input microphone, introducing a delay/reflection and the usual feedback tones (those can be triggered with high gain sources and feedback amount higher than 50%).

Noise:

  • ​The megaphone noises can be enabled by the Trigger button. There are two types of noise: Button and Burst. You can balance the mix between the two noises with the Source parameter.
  • The button noise is the noise made by clicking on the megaphone button to enable its microphone.
  • The burst is the typical background noise of the loudspeaker.
  • If the envelope is enabled, the Burst noise will follow the transients of the input signal.

Features

  • 2 Loudspeaker emulations
  • Overdrive + Bandwidth control
  • Feedback / Slapback
  • Preset system with randomizer
  • Formats: VST, AU, and AAX (32/64bit)
  • Platforms: OSX, Windows

2019/11/29: New Version 1.5.1 Changelog

  • Added: macOS 10.15 Catalina support
  • Added: Parameter Lock
  • Added: Edit Value option for Knobs
  • Added: Notification System
  • Improved: CPU and memory usage
  • Fixed: DSP not updating properly on some presets
  • Fixed: Minor graphics issues when closing multiple plugins

System Requirements

Mac:

  • OS X 10.7 – macOS 10.15 (64-bit only)
  • Intel Core 2 Duo, 2 GB RAM
  • VST2, VST3, AU, or AAX, (64-bit host required)

Windows:

  • Windows 7, 8, 10 (64-bit only)
  • Intel Core 2 Duo or AMD Athlon 64 X2, 4 GB RAM
  • VST2, VST3, or AAX (64-bit host required)

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


31. Saturator + FREE Slappy

by denise

Saturator + FREE Slappy

Buy denise God Mode & receive a FREE denise Slappy delay unit.

(Note: The 100% off Slappy coupon is attached to the serial) 

(Offer Ends June 1st)

Most saturation plugins will destroy your transients as well as the sound. The Denise saturator gives you complete control with extreme distortion to smooth tape-style saturation.

The Denise Saturator is a lightweight but powerful saturation plugin for adding colour and depth to individual tracks and bus-groups. Its deceptively straightforward interface gets you results fasts, but don’t be fooled: the plugin features continuous ‘transients’ and ‘smooth’ controls that provide you with a flexible and intuitive way to let through the transients in your track and emulate the pleasing smooth sound of tape hysteresis. Together with its different timbre styles, and auto-makeup and stereo-link options, the Denise Saturator gives you many ways to shape your sound, with minimal CPU load.

Use Cases

1. “You are trying to distort a drum track or percussive synth lead, but killing your track’s transients in the process.” Most saturation and distortion plugins will reduce transients and take the live out of your track. The Denise Saturator features a continuous ‘Transients’ control, allowing you to let through the transients in your track unharmed.

2. “You like the sound of a particular saturator, but it’s either sounding too harsh or too smooth, without any features to help out.” Most saturators feature just one ‘drive’ control, and some switches to change the saturation style. Besides the different standard style options on the Denise Saturator, it features a continuous ‘Smooth’ control, that allows you to adjust the smoothness of the saturation from extreme distortion to smooth tape style saturation, independent of the ‘Drive’ control.

3. “You use saturation a lot in your productions to add flavour, but all plugin instances amount to a huge CPU load.” Many saturators utilize convoluted and CPU-heavy algorithms to get their specific sound. Due to its clever ‘Transients’ and ‘Smooth’ features, the Denise Saturator is very flexible but at the same time extremely efficient on the CPU, allowing for many many instances.

System Requirements

  • OSX: VST, VST3, AU
  • Windows: VST, VST3

32. MPolySaturator

by MeldaProduction

MPolySaturator

MPolySaturator is a unique spectral saturation plugin, which generates harmonics for every single frequency in your signal, making the results sound richer. But unlike classic saturation, it does not suffer from the dirtiness when processing complex signals.

Distortion Revisited

We all know saturation produces higher harmonics, and that is pretty much the only “sort of advantage” of analog equipment – saturation everywhere. But there’s a catch – saturating a simple sine wave works fine, saturating anything more complex is not… Yes, you get all the desired harmonics that make the signal richer, but you also get completely disharmonic nonsense. And that’s the point behind MPolySaturator. It lets you create the actual harmonics, but doesn’t produce all that dirt you generally don’t want.

Modulating Harmonics?

How about changing the levels of the harmonics? After all, static sounds are generally boring. No problem! Just assign a modulator to a few harmonics and you can follow the input level, randomly change them and much more…

MeldaProduction Goodies

Like always you’ll find the standard MeldaProduction features: M/S, surround support as well as other channel modes, A-H presets for easy comparisons, and our easy to use integrated help system.

Features

  • The most advanced user interface on the market – stylable, resizable, GPU accelerated
  • Unique visualisation engine with classic meters and time graphs
  • 4 exceptionally versatile modulators
  • Adjustable oscillator shape technology
  • 4 multiparameters
  • M/S, single channel, up to 8 channels surround processing…
  • Smart randomisation
  • Automatic gain compensation (AGC)
  • Safety limiter
  • MIDI controllers with MIDI learn
  • 64-bit processing and an unlimited sampling rate
  • Extremely fast, optimized for newest AVX capable processors
  • Global preset management and online preset exchange
  • Supports VST, VST3, AU and AAX interfaces on Windows & Mac, both 32-bit and 64-bit
  • No dongle nor internet access is required for activation
  • Free-for-life updates

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!
 
64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.
 
Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Note: Please check your product PDF documentation for more information and installation instructions.


33. WARM

by Antares

WARM

Nothing warms up a vocal track, or, in fact, pretty much any track, like being recorded through a high-quality analog tube preamplifier. And thanks to our WARM Tube Saturation Generator, you can add this gorgeous tube warmth to every track of your mix without having to take out a second mortgage for a bank of exotic preamps.

WARM is an easy-to-use plug-in that accurately models the sonic effects of recording audio through a high-quality analog tube preamplifier. 

WARM offers the choice of two different tube models:

WARM’s Velvet tube models the subtle effects of classic tube saturation. While most often useful for adding warmth to vocals, it’s just as useful for acoustic guitar, horns, strings, synth pads, in fact pretty much anything.

The Crunch tube models the deep, warm distortion of an overdriven tube amplifier. You can also crank it up for that “industrial” vocal sound or as an effect for electric guitar, bass, or synths.

Finally, WARM’s unique OmniTube function allows the application of the tube effect to the entire signal (as opposed to only the transients, as is typically the case with a tube preamp).  

And since WARM is extremely DSP efficient, you can use it on an almost unlimited number of tracks simultaneously. Which is great, since once you start using WARM, you’re going to want it on almost everything.

System Requirements

Mac (Intel Processors only):

AAX Native (64 and 32-bit compatible)

  • Pro Tools 10.3.6 or later (except Pro Tools SE and M-Powered Essential, which do not accept 3rd party plugins) 
  • Mac OS 10.6.8 to 10.11 as required by your version of Pro Tools

RTAS:

  • Pro Tools 7.x to 10.x (except Pro Tools SE and M‑Powered Essential, which do not accept 3rd party plug-ins)
  • Mac OS 10.5.8 to 10.9.5 as required by your version of Pro Tools.

VST:

  • A certified compatible VST host program that supports the VST3 format.
  • Mac OS 10.6.8 to 10.11 as required by your host.

Audio Units:

  • A certified compatible host program that supports the Audio Units format. 
  • Mac OS 10.6.8 to 10.11 as required by your host.

The VST and AU versions can operate in both 64-bit and 32-bit modes.

PC:

AAX Native (64 and 32-bit compatible)

  • Pro Tools 10.3.6 or later (except Pro Tools SE and M-Powered Essential, which do not accept 3rd party plugins) 
  • Windows 7 to 10. as required by your version of Pro Tools

RTAS:

  • Pro Tools 7.x – 10.x (except Pro Tools SE and M‑Powered Essential, which do not accept 3rd party plugins). 
  • Windows XP, Vista, 7, 8, or 8.1 as required by your version of Pro Tools

VST:

  • A certified compatible host program that supports the VST2 or VST3 format.
  • Windows 7 to 10 as required by your host.

Please Note: WARM authorization requires an iLok USB smart key and the ability to access ilok.com (on any computer).

Top 33 Saturation VST plugins 2020
SOUND QUALITY
94
VALUE FOR MONEY
87
EASE OF USE
95
FEATURES
89
PRESETS
94
Reader Rating0 Votes
0
92
Keep Exploring
Audio Editor VST
Top 12 Audio Editor VST plugins 2020