Top Zynaptiq VST Plugins
Top Zynaptiq VST Plugins

Top 10+ Zynaptiq VST Plugins 2022

We have created for you a rating of the Best 10 Zynaptiq VST Plugins as the most downloaded and according to the excellent reviews of musicians

VST list navigation:

  1. INTENSITY
  2. ADAPTIVERB
  3. WORMHOLE
  4. MORPH 2
  5. UNFILTER
  6. DESIGN Bundle
  7. REMIX Bundle
  8. MASTER Bundle
  9. UNCHIRP
  10. ZAP Bundle II

1. INTENSITY

by: Zynaptiq

 
INTENSITY
 

Detail | Clarity | Density | Loudness

INTENSITY is a new kind of audio processor for mixing, mastering and sound design. Built on techniques typically found in facial recognition algorithms, INTENSITY brings out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity. The unique algorithm carves out important signal features – making sounds sound more like themselves – and is operated with essentially one control. Between the proprietary algorithm and an optional soft-knee saturating limiter in the plugin’s output stage, INTENSITY also excels at attaining maximum loudness and creating a beautifully aggressive tone. 

The key INTENSITY features at a glance:

  • Mastering-grade processing for more detail, clarity, density and loudness. 
  • Intuitive and fast workflow using a streamlined set of controls. 
  • Proprietary INTENSITY circuit with optional frequency-dependent BIAS function. 
  • Additional precision soft-knee saturating limiter at the output stage. 

Think “Compressor”

So what IS this thing, then? You can think of INTENSITY like an infinite-band compressor operating in relative terms – whose time constants are zero, and which is controlled by an artificial intelligence at audio rate – making it possible to adjust the process with essentially just one knob.

Or Actually, do NOT Think “Compressor”

Well, except that this description would be completely inaccurate, as INTENSITY is absolutely NOT a compressor, and works in a completely different way. There’s no RMS detector, no threshold, no ratio, no attack or release time. It doesn’t pump or modulate in any other way. It doesn’t overshoot and it works regardless of absolute levels and input type.

That said, the compressor analogy does serve to give you an idea of when to use it and what for.

Across the Board

INTENSITY is equally suited for processing individual tracks like speech, SFX, instruments – including guitars, bass and piano – as well as full mixes, multi-channel film stems, drum busses, and other complex content. This makes INTENSITY an indispensable tool for music producers, mastering engineers, sound designers, video producers, broad/podcasters, forensics professionals, audiophiles, or virtually anyone to quickly and easily add clarity, definition, and perceived loudness to their audio projects.

Fast, Faster, INTENSITY

This plugin is probably the fastest way to get great sound. No kidding. The actual, real-world usage story goes pretty much exactly like this:

  • Insert plugin
  • Adjust INTENSITY amount
  • Enjoy the result.

In some cases, you may additionally:

  • Adjust BIAS Amount and/or Curve
  • Switch LEVEL COMPENSATION off
  • Activate the saturation.

 …that is literally it.

TL;DR – Summarize that in Plain English, Please.

OK, we’ll drop the geek.

It’s a high-tech thing that makes everything sound way more awesome.
Which is why we call it The AWESOME!-Knob in our offices.
Put it on everything, all of the time. 
Be careful, it’s highly addictive.
Plain enough? 🙂

INTENSITY

At the heart of the plugin lies its namesake, the INTENSITY  circuit. A combination of advanced neural network based analysis and proprietary input and output transforms is used to separate the signal into broad strokes and detail features. By boosting the details while leaving the broad strokes in place, the sound’s unique characteristics are amplified, masking effects mitigated, details carved out, the density and perceived loudness increased. Sounds high tech? That’s because it IS.

BIAS

In most cases, the INTENSITY trackball is all you’ll need to use to get a great sound. But the processing amount can be controlled frequency dependently, too, using the BIAS function.

Preset BIAS Curves

INTENSITY features ten preset bias curves, including two equal loudness curves, a presence boost curve, linear tilt curves, and more. Curves are selected using our proprietary Visual Menu widget, which allows you to preview a setting simply by hovering your mouse over it. 

Custom BIAS Curve

Or simply create your own. Supported by multiple macro functions, finding just the right curve is a snap.

SATURATE

On top of the high-tech INTENSITY circuit, there’s also a slightly more traditional, but nonetheless state-of-the-art soft-knee saturating limiter that can optionally be switched into the output stage. From subtle glue to in-your-face-ness to Yeah-I-Just-Got-Three-dB-of-Loudness-For-Free in mastering to straight-up overdrive, the SATURATE circuit delivers a beautifully warm, meaty tone…and can drive the loudness into La-La-Land.

System Requirements 

Formats

INTENSITY is available for a variety of formats.

MacOS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Mac

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Windows

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Copy Protection

This software uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (or newer; not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

*Please note: the older, first generation (blue) iLok is not supported!


2. ADAPTIVERB

by: Zynaptiq

 
ADAPTIVERB
 

Harmonic Tracking Resynthesis Reverb

ADAPTIVERB is a revolutionary reflectionsless reverberation plugin. Unlike traditional acoustic room modeling using reflections, ADAPTIVERB focuses on creating depth, harmonic richness, and butter-smooth harmonic tails without obscuring the source or perceptually moving it back. Built using ray tracing reverberation, adaptive similarity filtering, and a revolutionary new AI technique similar to the technology that enables self-driving cars to avoid collisions, ADAPTIVERB can create lush spaces, smooth drones, and far-out textures while optionally filtering dissonance – so it never gets in the way of your sounds.

Reverb, zynaptified

Wouldn’t it be cool to have a reverb that auto-magically adapts to your sound and blends with perfection? A reverb that doesn’t clutter up your mix, and doesn’t push your sounds into the background. A reverb designed to sound beautiful and lush, rather than just realistic. A reverb so organically smooth it’s as if your sounds had a longer sustain to begin with. A reverb that loves creating organic ambient sonic textures.

We thought so. Say “hello” to ADAPTIVERB.

Key Features:

  • Revolutionary new reverberation approach with unique sonic characteristics
  • Bionic Sustain Resynthesis creates stunningly organic tails, eliminating noisy components from the input for clear, harmonic results free of graininess
  • Harmonic Contour Filter (HCF) circuit for removing effect components not in tune with the input, a captured harmonic fingerprint, or a set of notes defined using an on-screen keyboard
  • Filtering and pitch quantization based HCF Keyboard modes to conform the effect to a specific key
  • HCF HOLD mode for creating cross-filtering effects
  • Ray Tracing and Allpass based reverb engine
  • Input FREEZE function for creating drones, pads or infinite reverb type sounds
  • SIMPLIFY function that recreates the input’s harmonic content with a small amount of oscillators for additive synthesis type sounds — without the warbliness
  • RICHNESS parameter for adding octave, fifth or unison interval harmonics into the reverb
  • Pre-Processing section including harmonic synthesis based AIR
  • More than 400 presets covering a broad range of effects, including bread-and-butter reverbs, “invisible” reverbs, instrument-/voice-colored reverbs, cross-filtering, adaptively filtered delays, and pads/drones that play without input signal
  • MIDI control of all key parameters

Plug In Lushness

ADAPTIVERB was designed to sound beautifully lush and smooth from the ground up. Rather than simulating a realistic room, it focuses on creating depth, harmonic richness, and sustain that sounds so naturally organic it’s as if your sounds had more sustain to begin with. Its unique Bionic Sustain Resynthesizer creates reverb free of graininess or noise splashes, and its Ray Tracing engine creates super-dense and perfectly diffuse tails free of any attention-grabbing discrete reflections. 

Our testers have described ADAPTIVERB as “it’s just soo MUSICAL!”, “oh boy, does it sound GOOD!” and “I don’t use reverbs in general, they always mush up the sound – this one doesn’t, and I’m now turning into a reverb LOVER!”. We tend to agree with our testers and trust you will too.

You will find ADAPTIVERB works wonders on instruments like guitars, pianos, synthesizers or strings, on speech and vocals, on SFX and location sound, and even on full mixes.

And if you (like us) like Daniel Lanois, Robert Fripp, Ulrich Schnauss or My Bloody Valentine… you’ll love ADAPTIVERB.

No Clutter, No Mud, No Dissonance

Applying long reverb tails is a great way to “carry” a sound and embed it into a mix. However, the length and amount of reverb you can successfully use for this effect is usually limited. Reverb tends to obscure detail by moving sounds into the background and it can introduce dissonance and tonal clashing when the tail overlaps with a note or chord change. This often results in a cluttered, “muddy” mix that lacks directness and tonal definition.
ADAPTIVERB is always in tune with the input or a user-defined set of pitches, filtering out all unwanted harmonic content from the reverb automatically. Bye bye, mud & clutter – hello, harmonic clarity!

Like a (Bionic) Chameleon

Rather than stacking delay/allpass nodes or convolving the input with an IR (impulse response), ADAPTIVERB employs machine learning, ray tracing and source separation techniques to synthesize a reverb tail that automatically adapts to the audio context in which it is used – like a chameleon. As a result, reverb timbre can be matched to the source automatically, and the reverb can blend with your sounds so seamlessly that it becomes “invisible” with minimal effort – great for adding “glue” in mixing and mastering applications without having to adjust roll-offs, frequency dependent decay times or crossover frequencies manually. 

Sound Design Savvy

ADAPTIVERB loves sound design. Add fifth or octave interval harmonics into the reverb using the RICHNESS parameter, create additive synth style timbres using SIMPLIFY, create drones and pads that play without input using FREEZE, or create cross-filtering effects with the Harmonic Contour Filter’s HOLD functionality – quickly, easily and at maximum quality. Whether you produce music or design sound for film and games, ADAPTIVERB is for you. Read more about ADAPTIVERB’s pitch/synthesis, cross-filtering or drone/pad creation features…

Presets Galore

ADAPTIVERB ships with over 400 presets, including basic starting points, music production reverbs, adaptive delays, voice and orchestral colored reverbs, drones, pads, speech-optimized reverbs, cross-filtering presets, robotizers and more. And even this huge number of presets is just scratching the surface of what you can do with ADAPTIVERB!

Easy To Use

Like with all Zynaptiq products, the heavy lifting stays “under the hood” – making your workflow as effortless as possible. With “main” and “fine tune” GUI modes, ADAPTIVERB’s controls are both highly accessible and comprehensive. And with Zynaptiq’s advanced artificial intelligence, ADAPTIVERB can quite literally “drive itself” – saving you valuable time while producing stellar results. Test drive it now!

In-Depth

Bionic Sustain Resynthesis

At the heart of ADAPTIVERB lies the BIONIC SUSTAIN RESYNTHESIZER, a new type of reverb free of any harshness or graininess, which has no inherent resonant frequencies of its own, and that blends with the source excellently by nature. Built using an AI technique similar to that used to enable self-driving cars to avoid collisions, it synthesizes a reverb tail using a network of hundreds of oscillators that learn to re-create just the pitched/harmonic parts of the input sound. Thus, noise and transients don’t enter the reverb, making for organic tails even when working with otherwise difficult material like the master bus or field recordings.

Pitch Processing and Synthesis Parameters

As if that weren’t cool enough, we’ve built in controls for tweaking these oscillators, for timbral manipulation from subtle to…quite dramatic.

SIMPLIFY reduces the number of oscillators the Bionic Sustain Synth uses from hundreds right down to one at the slider’s maximum value. The result is a simplification of the timbre that has a distinct “flavor” somewhat similar to that of additive synthesizers. SIMPLIFY does not introduce the typical “warbliness” of additive synthesizers, though, due to the unique design of the resynthesis engine used. SIMPLIFY loves being automated, and works really well for creating ambient sounds.

RICHNESS introduces harmonics of a specified interval into the SUSTAIN SYNTH’s sound, similar to how you might add a pitch shifter in front of or in the feedback loop of a reverb. However, instead of adding pitch shifted copies of the sound in, RICHNESS works by causing oscillators to excite other oscillators that are at or close to the interval specified with INTERVAL, or in other words: *existing* harmonics at this interval are reinforced and no new oscillators are added. This makes for a much more harmonic, organic and transparent sound, and avoids adding pitch shifting artifacts into the effect.

INTERVAL specifies the RICHNESS interval. Available settings are -12, -5, +7 and +12 semitones, as well as a DETUNE setting (10 cents).

PITCH RANDOMIZE adds random pitch modulation to the oscillators, adding an ensemble style shimmer with a very nice characteristic.

Ray Tracing Reverb

ADAPTIVERB also features an advanced RAY TRACING REVERB module, which creates a very dense and perfectly diffuse reverb, with a beautifully smooth and full sound. Ray tracing reverb works by simulating the paths soundwaves take from a virtual sound source to a virtual listening position in a 3D room model. ADAPTIVERB’s AI-based implementation simulates the effects of 16,000 such paths, without explicitly computing individual reflections. The reverb created is linear (“white”) across all frequencies – perfect for diffusion of the sound pre-filtered by the SUSTAIN RESYNTH, as well as for post-filtering using the HARMONIC CONTOUR FILTER. ADAPTIVERB’s REVERB section also provides a traditional allpass-filter based reverb, and can be fed by the output of the BIONIC SUSTAIN SYNTH, directly from the input section, or a mixture of both – for maximum flexibility.

Harmonic Contour Filter, a.k.a The HCF

The unique HARMONIC CONTOUR FILTER post-processes the output of the preceding sections. Its primary purpose is to remove those pitched parts from the reverb tail that would clash with the input, for example when the source track had a chord-change, or that would create “mud” or obscure the source too much, limiting the amount of reverb that can be successfully used in a mix. The HCF also enables automatically adapting the tail to blend perfectly with the source, or, when applied with negative amounts, suppressing commonalities between the input and the reverb, to “fill just the gaps”. The HCF also features a HOLD function, that allows “freezing” the current filtering effect, so you can apply the timbral/tonal characteristics of one source to the reverb of another, for cross-filtering effects similar to those created with convolution (minus the temporal evolution). And finally, the HCF can be used to selectively conform the reverb tail to a specific set of pitches, under control of a virtual keyboard. See below for more information on these powerful features.

HCF Keyboard Mode

Switching the HCF to KEYBOARD MODE allows conforming the reverb to a user-defined set of pitches, under control of a small on-screen keyboard that features 5 snapshots for chord storage and automation. Simply select which pitches are “allowed”, and the entire effect path will conform. Pitch conforming can be done using precision filtering or pitch quantization, removing all unwanted harmonics or shifting them to allowed pitches, respectively. Both methods can be used to process the dry signal, too, by setting REVERB SOURCE and REVERB MIX to minimum values, for very cool sounding effects. 

Cross-Filtering With HCF HOLD

Use the HCF HOLD mode to create voice-colored reverbs, guitar flavored delays or other cross-filtering effects. Simply play a sound into the plug-in, and activate the HCF’s HOLD function when you hear the timbre you’d like to impart onto ADAPTIVERB’s effect path. Then, swap the input signal and cross-filter away! The HCF will extract or remove all components from the input or reverb that are not similar to the HOLD snapshot you took in terms of pitch. This source separation (a.k.a. De-Mixing) based similarity filtering engine is so precise that you can even use it to remove static sounds like hum, single notes or chords from your audio. A very powerful tool for sound design.

Create Drones, Pads & Ambience with FREEZE

Using the input FREEZE it takes just seconds to create stunningly organic, evolving drones, pads and ambient textures, that play even without input and are stored with the preset – effectively turning ADAPTIVERB into a unique ambient texture synthesizer. Unlike other “infinite reverb” type functions that simply recycle the contents of the reverb, in ADAPTIVERB, the actual input signal before the reverb is captured, and resynthesized in a seamless manner that does not sound looped and is free of warbling artifacts typically associated with such functionality. Because of this, all plugin parameters stay active during FREEZE, for your sonic texture sculpturing enjoyment. There are actually two freezers running in parallel, one at the input of the BIONIC SUSTAIN RESYNTHESIZER, and one at the “direct input” of the REVERB section. They have slight differences in terms of sound and what part of the input they capture, and you can mix between both using the REVERB SOURCE parameter. You can, of course, still get a more classic frozen reverb flavor, too, by setting SUSTAIN or the Ray Tracing REVERB’s SIZE parameter to maximum.

System Requirements

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Mac:  

  • Mac OS X 10.8 or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software (processing audio as 32-bit float)
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Plugin Formats:

  • AU (AudioUnits) (Mac only) (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Copy Protection

ADAPTIVERB uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please note: The older, first generation (blue) iLok is not supported!

ADAPTIVERB uses a lot of CPU. While the plug-in supports running at sampling rates of up to 192kHz, the actual achievable sampling rate and channel count possible within a single instance depends on the available CPU resources. Please download the trial version to see whether your DAW has sufficient resources to use ADAPTIVERB effectively.


3. WORMHOLE

by: Zynaptiq

 
WORMHOLE
 

Otherworldly Audio Effects

From beautifully shimmering detuned guitar widening and glassy ambient octave-shift tails, to surreal ambiences, starship drones, alien, monster, and robot voices — WORMHOLE is the new indispensable multi-effects powerhouse for sound designers, music producers and film composers alike. Combining ultra-clean pitch/frequency shifting, eccentric spectral warping, dual lush reverbs, and unique dry/wet morphing, WORMHOLE delivers sounds so unearthly you’ll swear they’re from a parallel universe.

Key Features:

  • High-quality multieffects processing ranging from the sublime to the extreme.
  • WARP spectral inversion & warping module.
  • SHIFT unique topology combined pitch-/frequency-shifting module with SMOOTH, TIGHT and two DETUNE modes.
  • Dual lush randomized hall reverbs.
  • Unique dry/wet morphing. 
  • Very wide +- 4 octaves pitch-shift and +-4000Hz frequency shift range, fully aliasing free, with 96dB/oct (!!) carrier and side-band attenuation.

Powerhouse

WORMHOLE consists of 5 highly synergistic processing modules: the spectral WARP, the pitch/frequency SHIFT, the dual random modulated hall REVERB, a nifty little DELAY, and the dry/wet morphing FX BLEND sections. In combination with a flexible signal path, this makes WORMHOLE an ultra-fast and easy-to-use, high-end multieffects processor, that covers the full range from the subtle to the (very) extreme. Whether you’re a sound designer, music producer or ambient artist, WORMHOLE is for you.

So What Is This For?

While WORMHOLE excels at making the usually time-consuming workflows of creating high-quality Sci-Fi sounds and creature voices fast, easy, fun and extremely hi-fi, it actually covers a very broad range of applications – including musical sweetening and ambient effects from the grungy to the shimmering and lush, bread-and-butter mixing effects like creating suboctaves, widening, chorusing, filtering, harmonic shaping and reverberation, and some seriously psychedelic electronica colors and mangling effects. Here are some of the things WORMHOLE is great at.

Alien, Robot and Monster Voices & Space-Age Transmission FX

WORMHOLE is insanely good for making all sorts of creature and robotic voices, as well as making them sound like the gravitometric faster-than-light transceiver went out-of-range. The WARP and SHIFT sections provide the mangling, while the dry/wet morphing ensures intelligibility (even with extreme transformations) and serves to fine-tune the alienification amount – reigning even the strongest processing back in if so desired. Or use the morphing to gradually transition from clean to mutated in an otherwise impossible, cool way. 

Surreal Soundscapes and SFX

With WORMHOLE, spaceship atmospheres and neutrino accelerator field fluctuation induced interference oscillations are unbelievably easy to make – and sound unbelievably good, too. Turn cute metal clangs into huge impacts of intergalactic proportions, aircondition rumble into ancient planetoid displacement machinery hum, and synthesizer waveforms into mutated cyborg production facility power plant drones. Then, animate the sound organically by moving the dry/wet morph and section dry/wet mixes just a little bit. Or go crazy and automate everything all over the place, of course.

Musical Effects – Shimmering, Ambient, Lush, Beautiful

Guitars, pianos, pads all love WORMHOLE. It does just that thing that you’d typically reach for your really awesome vintage rack multi-effects units for, and feed them back into each other through the console…if they weren’t out for service. Again. With unknown ETA due to the parts being unobtainium. And actually, WORMHOLE is the space-age version of that approach. No pitch-shifter induced disharmonic sidebands or graininess. Just pure, lushly blissfull glassy ambient fifths and octaves, micro-detuning shimmers, and more. Did we mention the dual, cascadable random modulated hall reverbs yet? 

Mixing Effects – Widening, Chorusing & More

Since we gave WORMHOLE a really great pitch shifter, we figured: it would be smart to also make it do the L/R Detuning-Widening-Chorusing Thing. As we try to be smart as much as we can, we taught WORMHOLE how to do just that. The pitch-shifter has two dedicated L/R detuning modes and, taking the approach up another notch, we also created what we believe to be the first center-balanced widening delay. Together with the dry/wet morphing and the dual reverb engines, this makes for organic sounds from the sublimely subtle to the…well, NOT-so-subtle-at-all. 

Far-Out Electronic Musical Effects & Destruction

Create sounds that mimic oscillator sync using any sound as the source. Even after the fact. Apply super-high fidelity frequency shifting, create wild pumping textures that sound far more aggressive than possible with a compressor, use the WARP circuit for emulating sample rate reduction and for creating unique lo-fi tones in a hi-fi way. Or, more generally speaking: transform your sounds in otherworldly ways. That’s WORMHOLE. If you dig modular synths (like we do), you’ll love it.

Simplexity

None of this complexity translates into your workflow, though – the WORMHOLE user interface is strikingly simple, and the plug-in is a breeze to use. A huge selection of meticulously crafted factory presets and a weighted randomization feature make exploring space beyond the WORMHOLE superluminally fast. Easy to use MIDI Learn for all controls makes fine-tuning parameters easier than translocating into a parallel universe. Well, quite a bit easier, actually. Give the free trial a spin to experience this multi-dimensional joyride for yourself!

System Requirements:

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

WORMHOLE is available for a variety of formats.

Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Copy Protection

ADAPTIVERB uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please note: The older, first generation (blue) iLok is not supported!


4. MORPH 2

by: Zynaptiq

 
MORPH 2
 

Real-Time Structural Audio Morphing

MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object – for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you’re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings…look no further, MORPH is for you!

Key Features:

  • 5 Unique feature-aware structural audio morphing algorithms.
  • Morphs between two input channels or input and side-chain.
  • Dual morphing circuits with crossfade option.
  • High-quality formant shifter.
  • Uses cutting edge signal transform technology for superb fidelity and intelligibility.
  • Both inputs can be mixed into the output or switched to solo.
  • Built-In Hall Reverb.
  • Fully real-time for immediate results.
  • MORPH 2 X/Y Morphing Control

Shape-Shifter

MORPH takes two input signals, A and B, and creates a new sound or transition that has characteristics of both – like a circle gradually turning into a square. Singing guitars, dogs that speak, or cymbals made out of mains hum – the choices are endless. MORPH computes two separate morphing transitions from A and B simultaneously, one starting out at A and shaping it to become B, the other starting out at B and shaping it to become A. The two sound completely different. Additionally, you can crossfade between the two for even more sonic options. All this is achieved using a single two-dimensional “X/Y” control, and completely in real-time – insert plugin, set up routing, go!

A Whole New Universe Of Sounds. A Multi-Verse, Actually

MORPH 2.0 features not one but three different morphing algorithms, two of which have additional low-latency versions with their own distinct sonic character, for a total of 5 different flavors of sound hybridization goodness (considering that A-to-B and B-to-A sound different, it’s effectively even 10 flavors…). Add to that the brand-new Amplitude Sensitivity, Complexity and Formant Shift parameters and you’ll never run out of unique new sounds.

FORMANTS, Not Just Formants

Speaking of the MORPH 2 formant shifter…it is – quite simply – stunningly good. Whether you use it on voice, drums, instruments or SFX captured in the field – it always sounds natural and focused, preserving all your sound’s detail, without introducing any of the granular or “spectral blurring” artifacts associated with traditional approaches to formant shifting. If you’re reading this, most likely you are a discerning audio connoisseur, and thus most likely you’ll fall in love with the MORPH 2 formant shifter the first time you hear it!

Impossible Mathematics, Easier Than Pie

Because of its pretty-much-one-control approach, using MORPH is a breeze. That said, it does some very heavy mathematical lifting under the hood. While the term “audio morphing” is widely used, what it typically describes is a simple interpolation of parameter values or spectral data. MORPH takes an entirely different approach, which is both mathematically a lot more complex and at the same time gives totally unique results. As an analogy, it creates wire-frame models for the two inputs in real-time, and then shapes one model to become the other – transforming one sound into the other structurally. Talk about sound transformation power at your fingertips…

To Boldly Go…

So what is this plug-in for? In a nut-shell: creating unheard new sounds and smooth, sonically pleasing transitions that are different from the cookie-cutter crossfade approach. Create creature voices by combining speech with other sounds, apply the features of a drum loop to a sustained pad, transition from one ambience or SFX to another with surreal intermediate stages, or or create hybrid rhythms or instruments…start exploring a whole new universe of sounds today with the 30-day free trial of MORPH 2! 

MORPH 2.0 is a significant update and has many new features:

  • MORPH is now a Zynaptiq-branded product – it has been zynaptified.
  • Now supports AAX Native (incl. AS), RTAS, VST and AU formats on Mac OS X & Windows.
  • New INTERWEAVE, TIGHT, CLASSIC (Low-Latency) and INTERWEAVE (Low-Latency) morphing algorithms.
  • Increased resolution for the original CLASSIC Morph 1.x algorithm.
  • New high-quality Formant-Shifter.
  • New Amplitude Sensitivity and Complexity parameters for more detailed control of the morphing process.
  • New seamless control of reverb parameters.
  • New Damping parameter for the reverb section.
  • Re-designed signal flow in the mixer section.
  • New preset manager.
  • New, super-slick user interface.
  • Now uses PACE EDEN copy protection for Machine- or iLok 2-based authorization.
  • Essentially new everything…

System Requirements

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats

MORPH is available for a variety of formats.

Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Zynaptiq MORPH 2 Plug-In Screenshot

Channel Layouts

MORPH 2 comes as two binaries, MORPH and MORPH SC (side-chain), to accommodate for the particluarities of the various plugin formats:

  • AU: Dual mono (MORPH), stereo with stereo side-chain (MORPH SC)
  • RTAS: dual mono (MORPH), stereo with mono sie-chain (MORPH SC), quad-to-stereo (MORPH)
  • AAX Native: dual mono (MORPH), stereo with mono sie-chain (MORPH SC), quad-to-stereo (MORPH)
  • VST: dual mono (MORPH), quad-to-stereo (MORPH)

Copy Protection

MORPH uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, including the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access. All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please note: The older, first generation (blue) iLok is not supported!


5. UNFILTER

by: Zynaptiq

 
UNFILTER
 

Adaptive Tonal Contour Linearization

UNFILTER is a real-time plug-in that removes filtering effects, such as comb filtering, resonance, or excessive equalization – effectively linearizing the frequency response of a signal automatically. UNFILTER can also apply a detected filter response to another signal, or export it to disk as an impulse response, and can even perform mastering grade adaptive, free-form, and graphic equalization. Whether you’re in music production, film post, game audio, broadcast, sound design, forensics, or engineering – UNFILTER makes time-consuming and often impossible tasks as effortless as adjusting one control.

Key Features:

  • Automatically detect and remove resonances, equalization, roll-offs and the effects of comb filtering from musical,  location, dialog and surveillance recordings.
  • Apply the measured filter response to other signals to place them in the same “acoustic world”.
  • Export the measured filter response to or import it from a linear- or minimum-phase impulse response file (WAV).
  • Mastering grade adaptive, free-form and graphic equalization.
  • Extremely steep 96dB/octave shelving high-pass filter.
  • Output limiter for unsupervised use in batch processing applications.
  • Highly time-efficient workflow and UI
  • For an overview of the use cases for UNFILTER in sound for picture, music production/mastering, sound design, broadcast or forensics, please have a look at the UNFILTER applications page.

Set It Straight

UNFILTER automatically detects resonances, EQ or filter effects – essentially any frequency response anomalies that aren’t part of the original signal. You can then remove these by simply adjusting one control, leaving the rest of the signal virtually untouched. As a result, previously problematic or unusable recordings can be made to sound good, and good recordings to sound great. In real-time, and with minimal effort, Zynaptiq-style.

Make It So

You can also apply the measured filter response from one recording to another – placing the two in the same acoustic “world”. Or you can create room-tone to fill editing gaps, by applying a measured filter response to noise. You can of course also store filter responses to disk as linear- or minimum-phase impulse response files, building a library of “colors” to have at your disposal any time. Whether you need to make ADR blend with production dialog, get one guitar snippet to sound like part of another, or create new sounds, UNFILTER makes this task fast and easy.

More Equal

UNFILTER is also an EQ. Three mastering grade EQs and an excellent high-pass filter, actually. For one, its (un-)filtering engine can function as an adaptive program equalizer that continuously adjusts itself while the audio is playing. This helps maintain a balanced spectrum when working with audio that changes over time, for example when streaming mixed music in broadcast applications. Secondly, UNFILTER sports a free-form EQ with various curve interpolation modes, from super-gentle slopes, through narrow notches, to brickwall steps. Thirdly, we added a streamlined 7-band graphic EQ for good measure. And finally, there’s a super-steep 96dB per octave shelving high-pass filter that removes low frequency rumble so efficiently you’ll forget that there was ever anything down there.

Rocket Science

How does UNFILTER do all that? Technically, it performs a real-time blind de-convolution, a cutting-edge technology rarely found even in the most advanced of research institutes. Fortunately, we don’t do lab coats.

This technology allows UNFILTER to take a close look at your audio, estimate what happened to its frequency response, and then create a filter that will undo the process. Sounds like rocket science? That’s because it is. But all the technology in the world doesn’t matter if it’s difficult to operate or doesn’t sound good. Well, UNFILTER is a breeze to use, and doesn’t just sound good…it sounds amazing.

Lightspeed

The UNFILTER UI is so fast and easy to use that corrective EQ can often be done within seconds by adjusting just one of our super-slick trackball sliders. And for advanced customization, every single function and control has been engineered with painstaking attention to detail – finely-tuned for optimal workflow and results. Whichever control you move, the right setting is never far away. UNFILTER is not only a life-saver, it is also a time-saver par excellance. But don’t take our word for it, experience it for yourself using the free trial version!

Applications For UNFILTER

UNFILTER is an incredibly versatile frequency response tool with a broad range of applications. We’ve compiled some of them here, organized by field of work: Sound For Picture, Music Production & Mastering, Sound Design, Broadcast and Forensics.

Sound For Picture

UNFILTER is a real workhorse in audio post. Its automatic recognition of frequency response anomalies is extremely useful for cleaning up production sound, and especially for enhancing the intelligibility of dialog. Here are some example scenarios:

  • Remove comb-filtering caused by multiple “open” mics being mixed to one iso track, or by proximity to reflective surfaces.
  • Remove resonances caused by room geometry or using shotgun mics near off-axis reflective surfaces.
  • Remove recording path roll-offs and lav mic chest resonance.
  • Increase level separation between dialog and background sounds.
  • Make ADR blend better with production dialog.
  • Synthesize room tone to fill editing gaps or to layer with ADR by applying a measured filter response to noise.
  • Make crowd atmos, walla or dense ambience collide less with dialog.
  • Manipulate apparent distance of background sounds by emphasizing room filtering effects.
  • “Worldize” SFX and foley recordings.
  • Speed up any equalization and low-cut filtering task.
  • Improve mix translation to non-standardized playback environments, like TV sor PCs, by removing resonances that would add up with the frequency response of the playback system.
  • Save hours of expensive mixing stage time.

Music Production & Mastering

In music production and mastering, fine-tuning the frequency response of your signals is one of the most commonly encountered tasks. Recordings of acoustic instruments and live performances often exhibit unwanted peaks and notches, and as the instruments in a song are typically playing in the same key, there is excessive  build-up in the frequency ranges where the relevant pitches have their fundamentals and harmonics. Also, your clients may have delivered processed tracks, limiting what can be done to “fix it in the mix”. UNFILTER’s automatic recognition of frequency response anomalies and its high-precision filtering engine make it a very flexible solution for all of these issues. 

Below are some examples of what UNFILTER can do for you:

  • Remove resonances and other frequency response issues from recordings of acoustic instruments or live performances.
  • Remove EQ or filtering “printed” to tracks delivered for mix-down or mastering.
  • Remove guitar cabinet coloration, or apply it to a DI guitar.
  • Apply corrective EQ to any source within seconds.
  • Exaggerate a sound’s coloration to more firmly place it in it’s own frequency “window”.
  • Remove low-mid buildup from sub-mixes and mixes without losing the “body” of the sound.
  • Balance the spectrum of one or multiple songs.
  • Capture the frequency response of outboard EQ or other signal paths & apply it or store it as impulse response (WAV).
  • Accentuate the natural low end on acoustic bassdrums.
  • Remove spectral peaks caused by corpus resonance, for example on bass or acoustic guitars.
  • Apply a track’s measured filter response to overdubs made with a different recording setup to make them blend better.

Sound Design

UNFILTER’s ability to completely reshape the spectral contour of a signal, extract the filter response from a sound and apply it to a different file, and to solo the noisy components contained in a sound makes it an excellent tool for designing new sounds. Here are just a few ideas on how UNFILTER can aid you in creating that unique new sonic entity:

  • Extract a filter response curve from a sound and apply it to another.
  • Remove the natural corpus resonance from a sound and apply a different one. 
  • Open or close synth lowpass filters after the fact.
  • Bring out aspects of a sound normally hidden behind other features.
  • Synthesize drones, hiss or rumble by extracting a filter response from an example sound & applying it to noise or other broad-band quasi- /cyclo-stationary sounds.
  • Use NOISE MONITOR to isolate the noisy components of a sound.
  • Generate multiple object state sounds from one file for game-audio.
  • Animate the frequency response of static sounds to make them more “alive”.
  • Improve translation to consumer playback systems like gamer PCs.
  • Generally fine-tune the frequency response of a sound with unprecedented precision.

Broadcast & ENG

When broadcasting audio, it is important to maintain a consistent and balanced audio spectrum, to ensure optimal performance of all down-stream systems, including dynamics processing, codecs and playback devices…and, most importantly, to provide a high-quality, consistent and non-fatigueing listening experience to the audience. As the acoustic properties of the footage used can vary strongly to say the least, this is no trivial task. Electronic News Gathering (ENG) in the field can often require using only small, portable and inconspicuous devices, and/or low  bandwidth transmission systems, due to infrastructural, political or safety-related issues. In many cases, it’s either low-fidelity footage, or none at all. UNFILTER’s adaptive processing will help you make even the most difficult footage usable, and deliver the best possible audio every and any time. Here are some things UNFILTER will do for you:

  • Apply adaptive equalization to time-varying audio content, such as mixed music audio streams.
  • Enhance intelligibility of speech recordings by removing resonances and signal path related roll-offs.
  • Improve translation to consumer playback devices by removing non-linearities that would add up with those of the playback system.
  • Reduce the coloration imparted by transmission through telephones, megaphones, intercoms, P.A. systems etc.
  • Increase intelligibilty of speech recorded using low-fidelity or covertly worn recording devices.
  • Increase the separation of speech from background sounds.

Forensics

UNFILTER can assist in extracting information from recordings in multiple ways. Intelligibility of speech recordings can be greatly enhanced, the filtering effects of microphone occlusion can be removed, and you can even make sounds buried beneath others more audible. Some usage scenarios are:

  • Increase intelligibility of speech recorded using low-quality, occluded or damaged audio equipment.
  • Make sounds buried beneath other sounds more audible.
  • Increase separation between speech and background sounds.
  • Reduce the filtering effects caused by telephone transmissions.
  • Remove resonances and filtering effects caused by an intermediate medium, such as walls or windows.

System Requirements:

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

UNFILTER is available for a variety of formats.

Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Zynaptiq UNFILTER Screenshot

Copy Protection

ADAPTIVERB uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please note: The older, first generation (blue) iLok is not supported!

CPU Load

While they are highly optimized, our plug-ins use a LOT of CPU due to the complex nature of the magic they perform. Please use the free trial to evaluate whether your system has sufficient resources to utilize the software effectively! We recommend setting your playback buffer size to at least 512 or ideally 1024 samples for optimum performance. 

As our plug-ins sport unique features not found in any other software, we highly recommend reading their manuals to ensure you get the most out of them!


6. DESIGN Bundle

by: Zynaptiq

 
DESIGN Bundle
 

The DESIGN Bundle: Sound Transform Effects Plug-In Bundle

Shape Sound Like Never Before.

The DESIGN Bundle bundles three sound design powerhouses into one indispensable package. Design pads, drones and ambiences, perform cross-filtering, and add pristine, lush reverb that harmonically adapts to your audio with ADAPTIVERB. Combine features of two sources into unheard new hybrid sounds, and create smooth morphing transitions with MORPH 2. Transform your sounds with multi-effects processing ranging from the sublime to the otherworldly and extreme using WORMHOLE. Whether you are a sound designer, music producer, audio artist or film composer, the DESIGN Bundle is for you!

What’s included in the DESIGN Bundle :

  • ADAPTIVERB: Harmonic Tracking Resynthesis Reverb.
  • MORPH 2: Real-Time Structural Audio Morphing.
  • WORMHOLE: Otherworldly Audio Effects Processor.

ADAPTIVERB

Harmonic Tracking Resynthesis Reverb

ADAPTIVERB is a revolutionary reflectionsless reverberation plugin. Unlike traditional acoustic room modeling using reflections, ADAPTIVERB focuses on creating depth, harmonic richness, and butter-smooth harmonic tails without obscuring the source or perceptually moving it back. Built using ray tracing reverberation, adaptive similarity filtering, and a revolutionary new AI technique similar to the technology that enables self-driving cars to avoid collisions, ADAPTIVERB can create lush spaces, smooth drones, and far-out textures while optionally filtering dissonance – so it never gets in the way of your sounds.

Reverb, Zynaptified

Wouldn’t it be cool to have a reverb that auto-magically adapts to your sound and blends with perfection? A reverb that doesn’t clutter up your mix, and doesn’t push your sounds into the background. A reverb designed to sound beautiful and lush, rather than just realistic. A reverb so organically smooth it’s as if your sounds had a longer sustain to begin with. A reverb that loves creating organic ambient sonic textures.

We thought so. Say “hello” to ADAPTIVERB.

Key Features:

  • Revolutionary new reverberation approach with unique sonic characteristics
  • Bionic Sustain Resynthesis creates stunningly organic tails, eliminating noisy components from the input for clear, harmonic results free of graininess
  • Harmonic Contour Filter (HCF) circuit for removing effect components not in tune with the input, a captured harmonic fingerprint, or a set of notes defined using an on-screen keyboard
  • Filtering and pitch quantization based HCF Keyboard modes to conform the effect to a specific key
  • HCF HOLD mode for creating cross-filtering effects
  • Ray Tracing and Allpass based reverb engine
  • Input FREEZE function for creating drones, pads or infinite reverb type sounds
  • SIMPLIFY function that recreates the input’s harmonic content with a small amount of oscillators for additive synthesis type sounds — without the warbliness
  • RICHNESS parameter for adding octave, fifth or unison interval harmonics into the reverb
  • Pre-Processing section including harmonic synthesis based AIR
  • More than 400 presets covering a broad range of effects, including bread-and-butter reverbs, “invisible” reverbs, instrument-/voice-colored reverbs, cross-filtering, adaptively filtered delays, and pads/drones that play without input signal
  • MIDI control of all key parameters

MORPH 2

Real-Time Structural Audio Morphing

MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object – for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you’re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings…look no further, MORPH is for you!

Key Features:

  • 5 Unique feature-aware structural audio morphing algorithms.
  • Morphs between two input channels or input and side-chain.
  • Dual morphing circuits with crossfade option.
  • High-quality formant shifter.
  • Uses cutting edge signal transform technology for superb fidelity and intelligibility.
  • Both inputs can be mixed into the output or switched to solo.
  • Built-In Hall Reverb.
  • Fully real-time for immediate results.
  • MORPH 2 X/Y Morphing Control

WORMHOLE

Otherworldly Audio Effects

From beautifully shimmering detuned guitar widening and glassy ambient octave-shift tails, to surreal ambiences, starship drones, alien, monster, and robot voices — WORMHOLE is the new indispensable multi-effects powerhouse for sound designers, music producers and film composers alike. Combining ultra-clean pitch/frequency shifting, eccentric spectral warping, dual lush reverbs, and unique dry/wet morphing, WORMHOLE delivers sounds so unearthly you’ll swear they’re from a parallel universe.

Powerhouse

WORMHOLE consists of 5 highly synergistic processing modules: the spectral WARP, the pitch/frequency SHIFT, the dual random modulated hall REVERB, a nifty little DELAY, and the dry/wet morphing FX BLEND sections. In combination with a flexible signal path, this makes WORMHOLE an ultra-fast and easy-to-use, high-end multieffects processor, that covers the full range from the subtle to the (very) extreme. Whether you’re a sound designer, music producer or ambient artist, WORMHOLE is for you.

So What Is This For?

While WORMHOLE excels at making the usually time-consuming workflows of creating high-quality Sci-Fi sounds and creature voices fast, easy, fun and extremely hi-fi, it actually covers a very broad range of applications – including musical sweetening and ambient effects from the grungy to the shimmering and lush, bread-and-butter mixing effects like creating suboctaves, widening, chorusing, filtering, harmonic shaping and reverberation, and some seriously psychedelic electronica colors and mangling effects. Here are some of the things WORMHOLE is great at.

Key Features:

  • High-quality multieffects processing ranging from the sublime to the extreme.
  • WARP spectral inversion & warping module.
  • SHIFT unique topology combined pitch-/frequency-shifting module with SMOOTH, TIGHT and two DETUNE modes.
  • Dual lush randomized hall reverbs.
  • Unique dry/wet morphing. 
  • Very wide +- 4 octaves pitch-shift and +-4000Hz frequency shift range, fully aliasing free, with 96dB/oct (!!) carrier and side-band attenuation.

System Requirements

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

Available for a variety of formats.

On Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

PC / Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Copy Protection

This software uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please note: The older, first generation (blue) iLok is not supported!

CPU Load

While they are highly optimized, our plug-ins use a LOT of CPU due to the complex nature of the magic they perform. Please use the free trial to evaluate whether your system has sufficient resources to utilize the software effectively! We recommend setting your playback buffer size to at least 512 or ideally 1024 samples for optimum performance. 

As our plug-ins sport unique features not found in any other software, we highly recommend reading their manuals to ensure you get the most out of them!


7. REMIX Bundle

by: Zynaptiq

 
REMIX Bundle
 

The REMIX Bundle: Music Recomposition Plugin Bundle

New Ways To Interact With Recorded Music.

The REMIX Bundle combines three unique and powerful processors into one jaw-dropping suite. Change the harmonies and melodies within instrument recordings, samples, loops, or even mixed music, and suppress individual notes in a mix while perfecting the tuning of the rest – in real-time, at maximum quality, and optionally under control of a MIDI keyboard with PITCHMAP. Create unheard musical elements by morphing between two instruments or rhythms, and create smooth morphing transitions with MORPH 2. Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems with UNMIX::DRUMS. The REMIX Bundle is an essential toolkit for music producers, remixers, DJs and film composers alike

What’s included in the REMIX Bundle :

  • MORPH 2: Real-Time Structural Audio Morphing. 
  • PITCHMAP: Re-Write Mixed Music In Real-Time. 
  • UNMIX::DRUMS: Boost Or Attenuate Drums In Mixed Music.  

MORPH 2

Real-Time Structural Audio Morphing

MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object – for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you’re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings…look no further, MORPH is for you!

Key Features:

  • 5 Unique feature-aware structural audio morphing algorithms.
  • Morphs between two input channels or input and side-chain.
  • Dual morphing circuits with crossfade option.
  • High-quality formant shifter.
  • Uses cutting edge signal transform technology for superb fidelity and intelligibility.
  • Both inputs can be mixed into the output or switched to solo.
  • Built-In Hall Reverb.
  • Fully real-time for immediate results.
  • MORPH 2 X/Y Morphing Control

PITCHMAP

Re-Write Mixed Music In Real-Time

PITCHMAP is the world’s first and only plug-in that allows processing the pitch of individual sounds within mixed signals in real-time. It lets you change the melodies and harmonies of any recording by simply playing your own on a MIDI keyboard or creating a pitch map using our stream-lined GUI, and optionally corrects any tuning issues at the same time. As if that weren’t enough, PITCHMAP provides functions to suppress individual sounds within a mix, and can apply advanced synthesizer-like sound transformations to your audio. In short, it is an inspiring musical instrument, a precision corrective tool and the only processor that literally lets you shape music with your hands.

PITCHMAP has so many uses we haven’t yet discovered all of them ourselves. Here’s a couple of the applications we’re aware of:

  • Engineers can correct tuning inaccuracies in mixed recordings
  • Composers can try different harmonies for their works in an immediate, hassle-free and inspiring manner
  • Music producers that work with sampled material can now sculpt the music inside the samples as if they were clay in the hands of a potter
  • DJs can adapt the key/scale of their songs to fit into a seamless set
  • Sound designers get a bunch of unique new ways of creating the sounds that make the films and games of today so immersive
  • Mash-Up artists and Re-Mixers now spend minutes instead of hours (or days) adapting the components they use to fit each other
  • Rapid song/score prototyping using existing recordings that can be transformed to be something new on-the-fly
  • Mix element suppression under MIDI control
  • Creating unique synthesizer sounds based on a live input
  • Create instant remixes and professional accompaniment tracks directly from your favorite songs or play list

UNMIX::DRUMS

Boost Or Attenuate Drums In Mixed Music

UNMIX::DRUMS is the world’s first audio plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of your drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, our high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.

* Actually achievable amounts depend on input signal specifics.

Key Features:

  • Source Separation-Based Control of Drum Level in Mixed Music.
  • SMOOTH and PUNCHY Boost Modes.
  • Sample-Accurate Sub-Bass (Re)Synthesizer.
  • Frequency Dependent Control of Key Parameters.
  • Intuitive 3-way GUI Design.

System Requirements

Mac:

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Windows:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

On MacOS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

On Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Copy Protection

This software uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (or newer; not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please Note

  • The older, first generation (blue) iLok is not supported!
  • While they are highly optimized, our plug-ins use a LOT of CPU due to the complex nature of the magic they perform. Please use the free trial to evaluate whether your system has sufficient resources to utilize the software effectively! We recommend setting your playback buffer size to at least 512 or ideally 1024 samples for optimum performance. 
  • As our plug-ins sport unique features not found in any other software, we highly recommend reading their manuals to ensure you get the most out of them!

8. MASTER Bundle

by: Zynaptiq

 
MASTER Bundle
 

AI-Powered Audio Mastering

The MASTER Bundle: AI-powered audio mastering plugins for maximum quality with minimum effort. Our award-winning “smart” equalizer UNFILTER solves any EQ problems auto-magically (or manually, if preferred), with stunning precision, an incredibly quick workflow, and pristine quality. Carve out the details and character of your audio, add clarity, increase density, and boost loudness without breaking a sweat using INTENSITY. Change the level and punch of drums in a mixed recording or on the drum bus using our source separation based UNMIX::DRUMS. Whether you are a mastering or mixing engineer, music producer or artist, the MASTER Bundle will save you massive amounts of time while providing unbeatable results!

What’s included in the MASTER Bundle:

  • INTENSITY: Detail | Clarity | Density | Loudness
  • UNFILTER: Adaptive Precision Equalizer
  • UNMIX::DRUMS: Boost Or Attenuate Drums In Mixed Music

INTENSITY

INTENSITY is a new kind of audio processor for mixing, mastering and sound design. Built on techniques typically found in facial recognition algorithms, INTENSITY brings out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity. The unique algorithm carves out important signal features – making sounds sound more like themselves – and is operated with essentially one control. Between the proprietary algorithm and an optional soft-knee saturating limiter in the plugin’s output stage, INTENSITY also excels at attaining maximum loudness and creating a beautifully aggressive tone. 

The key INTENSITY features at a glance:

  • Mastering-grade processing for more detail, clarity, density and loudness. 
  • Intuitive and fast workflow using a streamlined set of controls. 
  • Proprietary INTENSITY circuit with optional frequency-dependent BIAS function. 
  • Additional precision soft-knee saturating limiter at the output stage. 

Learn more about INTENSITY.

UNFILTER

UNFILTER is a real-time plug-in that removes filtering effects, such as comb filtering, resonance, or excessive equalization – effectively linearizing the frequency response of a signal automatically. UNFILTER can also apply a detected filter response to another signal, or export it to disk as an impulse response, and can even perform mastering grade adaptive, free-form, and graphic equalization. Whether you’re in music production, film post, game audio, broadcast, sound design, forensics, or engineering – UNFILTER makes time-consuming and often impossible tasks as effortless as adjusting one control.

Key Features:

  • Automatically detect and remove resonances, equalization, roll-offs and the effects of comb filtering from musical,  location, dialog and surveillance recordings.
  • Apply the measured filter response to other signals to place them in the same “acoustic world”.
  • Export the measured filter response to or import it from a linear- or minimum-phase impulse response file (WAV).
  • Mastering grade adaptive, free-form and graphic equalization.
  • Extremely steep 96dB/octave shelving high-pass filter.
  • Output limiter for unsupervised use in batch processing applications.
  • Highly time-efficient workflow and UI
  • For an overview of the use cases for UNFILTER in sound for picture, music production/mastering, sound design, broadcast or forensics, please have a look at the UNFILTER applications page.

Learn more about UNFILTER.

UNMIX::DRUMS

UNMIX::DRUMS is the world’s first audio plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of your drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, our high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.

* Actually achievable amounts depend on input signal specifics.

Key Features:

  • Source Separation-Based Control of Drum Level in Mixed Music.
  • SMOOTH and PUNCHY Boost Modes.
  • Sample-Accurate Sub-Bass (Re)Synthesizer.
  • Frequency Dependent Control of Key Parameters.
  • Intuitive 3-way GUI Design.

Learn more about UNMIX::DRUMS.

System Requirements 

INTENSITY

Formats

MacOS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Mac

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Windows

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

UNFILTER

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

UNFILTER is available for a variety of formats.

Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Zynaptiq UNFILTER Screenshot

UNMIX::DRUMS

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

UNMIX::DRUMS is available for a variety of formats.

Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Zynaptiq UNMIX DRUMS Plug-In Screenshot

Copy Protection

This software uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (or newer; not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

*Please note: the older, first generation (blue) iLok is not supported!


9. UNCHIRP

by: Zynaptiq

 
UNCHIRP
 

Codec Artifact Removal & Transient Retrieval

UNCHIRP is a plug-in for removing the most obnoxious artifacts associated with lossy audio encoding and other FFT based processes, such as spectral de-noising. Reduce musical noise, suppress high frequency chirping (also known as underwater sound, warbling or the tweeties), fix transient smearing, and restore lost high frequencies – UNCHIRP does it all in one go. If you need to salvage poorly encoded music, speech that has gone through a low bit rate uplink, material that has been de-noised too strongly, or footage recorded with consumer mobile devices – or if you simply want to add contour and vibrance to already great sounding recordings – UNCHIRP is your (only) friend.

Key Features:

  • Suppression of high frequency “chirping” artifacts.
  • Reduction of “musical noise” artifacts.
  • Transient Synthesis to augment or replace smeared, over-limited or otherwise compromised transients.
  • Psycho-Acoustically optimized Treble Boost circuit with Enhance and Excite modes.
  • Break-Point Curve Editor based frequency-dependent processing.
  • Side-only algorithm mode for working with joint-stereo encoded material.
  • HD algorithm mode for increased quality processing with higher CPU load (off-line processing recommended).
  • SYNC parameter allows processing to be synchronized to signal transients for increasing clarity.
  • Output limiter for unsupervised use in batch processing applications.
  • Highly time-efficient workflow and UI.

The Problem

Both lossy codecs as well as many of today’s DSP processes (like de-noisers) make heavy use of a process called the Fast Fourier Transform (FFT). This method has some major advantages. It also has some major drawbacks, which are the root cause for a variety of artifacts, such as Musical Noise, High Frequency Modulation (a.k.a. Chirping), Transient Smearing, and overall “blurring” due to low localization in the time domain. Because of the way human hearing works, these artifacts are very obvious and sound distinctly unnatural. Additionally, lossy codecs and de-noisers often cause a loss of high frequencies, further degrading your audio. UNCHIRP is the medicine for all of these artifact types.

Two Is More Than One

UNCHIRP identifies the birdies, and applies proprietary processing to make them disappear. It offers two different, simultaneously available algorithms to achieve this, Musical Noise Reduction and Dechirping, each featuring its own technological approach, unique sonic properties and its own breakpoint curve editor for frequency dependent processing. At Zynaptiq, we like over-delivering.

Snap!

Like our award-winning de-reverberator UNVEIL, UNCHIRP allows bypassing transients for natural sounding results even with extreme settings. But we didn’t stop there – we’ve added frequency dependency to the bypass threshold, and frequency dependent transient attenuation/boost. The new Transient Synthesis can replace transients compromised by FFT processing such as lossy encoding, or by excessive dynamics processing. Finally, the Sync function synchronizes processing to the signal’s transients, adding overal clarity and coherence. These algorithms work equally well for fixing problem material as well as for augmenting already great sounding recordings, adding impact, detail and contour. It’s like pulling a curtain aside. Try it, you’ll love it.

The Shining

And then, there’s Treble Boost, which deals with the fact that low bit rate encoded audio may show a “dead band” in the treble range – there’s simply a hard-limit to what any given bit rate can capture in terms of frequency. Regular EQ won’t help because there’s nothing to boost. The Treble Boost circuit offers two ways to recover some of that treble: a psycho-acoustically optimized Enhancer – equalization that is tailored in such a way that it implies frequency content in the dead band to the listener – and an Exciter, which synthesizes new harmonics to “fill the gap”. These sound so good that you may end up turning to these for your treble processing in general – even with already great sounding signals – to add shine and vibrance to your audio.

Supraluminal

As time is the most scarce of resources, at Zynaptiq we’re obsessed with saving it for you. UNCHIRP sports a variety of workflow features to help you get results faster than light. There’s an output limiter to allow for unsupervised batch-processing without overs, an I/O difference function to quickly hear what exactly you’re removing, frequency dependent processing for all key parameters using breakpoint curves with snap-to-zero and copy/paste functionality, and our preset manager that writes presets that you can then use across all platforms and formats. Start using UNCHIRP and go ahead and book another week of holidays.

Synergies Galore

UNCHIRP is available for purchase separately as well as bundled with our award-winning reverb removal, adaptive equalization and polyphonic pitch processing plug-ins UNVEIL, UNFILTER and PITCHMAP, as part of the ZAP Bundle. As a team, these tools give you unprecedented access to the heart of your audio, and do so so efficiently that you’ll wonder how you managed without them all these years.

System Requirements:

PC:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

MAC:  

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions) DOES NOT REQUIRE ILOK KEY
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

UNCHIRP is available for a variety of formats.

Mac OS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)

Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Zynaptiq UNCHIRP Screenshot

Please Note: UNCHIRP uses a lot of CPU. Even more so when running in HD Mode. Please download the trial version to see whether your DAW has sufficient resources to use UNCHIRP effectively.

Copy Protection

ADAPTIVERB uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please note: The older, first generation (blue) iLok is not supported!

CPU Load

While they are highly optimized, our plug-ins use a LOT of CPU due to the complex nature of the magic they perform. Please use the free trial to evaluate whether your system has sufficient resources to utilize the software effectively! We recommend setting your playback buffer size to at least 512 or ideally 1024 samples for optimum performance. 

As our plug-ins sport unique features not found in any other software, we highly recommend reading their manuals to ensure you get the most out of them!


10. ZAP Bundle II

by: Zynaptiq

 
ZAP Bundle II
 

The Cutting Edge, Season 2

The version 2 upgrade of Zynaptiq’s highly acclaimed ZAP Bundle combines all eight of our AI and source separation based plugins into a single, value-packed processing suite. Restore your sound’s natural frequency response, remove reverb and masking effects, reduce codec/denoiser artifacts, and modify pitches within mixed music on the fly. Create unheard new hybrid sounds, drones and morphing transitions, and boost or attenuate drums in mixed music. Add punch to your drum stems, mutate, beautify, cross-filter or polish your sounds, and even add the only ultra-lush, musical reverb that tracks your audio’s harmonics. All in real-time, with a lightning fast workflow, and with award-winning quality. Add the future of audio processing to your toolkit now with ZAP II – The Zynaptiq Audio Processors Bundle, Version 2

What’s included in the ZAP II Bundle:

UNVEIL

De-Reverberation & Signal Focusing Processor

Boost or suppress reverb in your recordings, and fine-tune overall clarity, with award-winning quality.

UNVEIL is a real-time, de-mixing based plug-in that allows attenuating or boosting reverb components within a mixed signal of any channel count, including mono sources, as well as modifying reverb characteristics. Additionally, UNVEIL allows you to bring the key features of a recording into focus, or move them to the background, by attenuating or boosting perceptionally less important signal components. Based on our proprietary, artificial intelligence based MAP (Mixed-Signal Audio Processing) technology, UNVEIL allows fixing previously unusable location audio and dialog, tightening up live music recordings, removing reverb and “mud” from musical signals, as well as creative sound design.

Key Features:

  • Audio engineers can attenuate reverb in recordings
  • Film mixers and dialog editors can remove reverb from dialog and location sound
  • Music producers can turn vintage drum-loops rich in reverb into dry recordings, and vice-versa
  • Foley artists can remove ambience from sub-optimally captured sounds
  • Mix and mastering engineers can bring key mix elements into focus by attenuating components commonly referred to as “mud”

UNFILTER

Adaptive Tonal Contour Linearization

Remove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality.

UNFILTER is a real-time plug-in that removes filtering effects, such as comb filtering, resonance, or excessive equalization – effectively linearizing the frequency response of a signal automatically. UNFILTER can also apply a detected filter response to another signal, or export it to disk as an impulse response, and can even perform mastering grade adaptive, free-form, and graphic equalization. Whether you’re in music production, film post, game audio, broadcast, sound design, forensics, or engineering – UNFILTER makes time-consuming and often impossible tasks as effortless as adjusting one control.

Key Features:

  • Automatically detect and remove resonances, equalization, roll-offs and the effects of comb filtering from musical,  location, dialog and surveillance recordings.
  • Apply the measured filter response to other signals to place them in the same “acoustic world”.
  • Export the measured filter response to or import it from a linear- or minimum-phase impulse response file (WAV).
  • Mastering grade adaptive, free-form and graphic equalization.
  • Extremely steep 96dB/octave shelving high-pass filter.
  • Output limiter for unsupervised use in batch processing applications.
  • Highly time-efficient workflow and UI

UNCHIRP

Codec Artifact Removal & Transient Retrieval

UNCHIRP is a plug-in for removing the most obnoxious artifacts associated with lossy audio encoding and other FFT based processes, such as spectral de-noising. Reduce musical noise, suppress high frequency chirping (also known as underwater sound, warbling or the tweeties), fix transient smearing, and restore lost high frequencies – UNCHIRP does it all in one go. If you need to salvage poorly encoded music, speech that has gone through a low bit rate uplink, material that has been de-noised too strongly, or footage recorded with consumer mobile devices – or if you simply want to add contour and vibrance to already great sounding recordings – UNCHIRP is your (only) friend.

Key Features:

  • Suppression of high frequency “chirping” artifacts.
  • Reduction of “musical noise” artifacts.
  • Transient Synthesis to augment or replace smeared, over-limited or otherwise compromised transients.
  • Psycho-Acoustically optimized Treble Boost circuit with Enhance and Excite modes.
  • Break-Point Curve Editor based frequency-dependent processing.
  • Side-only algorithm mode for working with joint-stereo encoded material.
  • HD algorithm mode for increased quality processing with higher CPU load (off-line processing recommended).
  • SYNC parameter allows processing to be synchronized to signal transients for increasing clarity.
  • Output limiter for unsupervised use in batch processing applications.
  • Highly time-efficient workflow and UI.

PITCHMAP

Re-Write Mixed Music In Real-Time

PITCHMAP is the world’s first and only plug-in that allows processing the pitch of individual sounds within mixed signals in real-time. It lets you change the melodies and harmonies of any recording by simply playing your own on a MIDI keyboard or creating a pitch map using our stream-lined GUI, and optionally corrects any tuning issues at the same time. As if that weren’t enough, PITCHMAP provides functions to suppress individual sounds within a mix, and can apply advanced synthesizer-like sound transformations to your audio. In short, it is an inspiring musical instrument, a precision corrective tool and the only processor that literally lets you shape music with your hands.

MORPH 2

Real-Time Structural Audio Morphing

MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object – for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you’re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings…look no further, MORPH is for you!

Key Features:

  • 5 Unique feature-aware structural audio morphing algorithms.
  • Morphs between two input channels or input and side-chain.
  • Dual morphing circuits with crossfade option.
  • High-quality formant shifter.
  • Uses cutting edge signal transform technology for superb fidelity and intelligibility.
  • Both inputs can be mixed into the output or switched to solo.
  • Built-In Hall Reverb.
  • Fully real-time for immediate results.
  • MORPH 2 X/Y Morphing Control

UNMIX::DRUMS

Boost Or Attenuate Drums In Mixed Music

UNMIX::DRUMS is the world’s first audio plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of your drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, our high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.

* Actually achievable amounts depend on input signal specifics.

Key Features:

  • Source Separation-Based Control of Drum Level in Mixed Music.
  • SMOOTH and PUNCHY Boost Modes.
  • Sample-Accurate Sub-Bass (Re)Synthesizer.
  • Frequency Dependent Control of Key Parameters.
  • Intuitive 3-way GUI Design.

ADAPTIVERB

Harmonic Tracking Resynthesis Reverb

ADAPTIVERB is a revolutionary reflectionsless reverberation plugin. Unlike traditional acoustic room modeling using reflections, ADAPTIVERB focuses on creating depth, harmonic richness, and butter-smooth harmonic tails without obscuring the source or perceptually moving it back. Built using ray tracing reverberation, adaptive similarity filtering, and a revolutionary new AI technique similar to the technology that enables self-driving cars to avoid collisions, ADAPTIVERB can create lush spaces, smooth drones, and far-out textures while optionally filtering dissonance – so it never gets in the way of your sounds.

Key Features:

  • Revolutionary new reverberation approach with unique sonic characteristics
  • Bionic Sustain Resynthesis creates stunningly organic tails, eliminating noisy components from the input for clear, harmonic results free of graininess
  • Harmonic Contour Filter (HCF) circuit for removing effect components not in tune with the input, a captured harmonic fingerprint, or a set of notes defined using an on-screen keyboard
  • Filtering and pitch quantization based HCF Keyboard modes to conform the effect to a specific key
  • HCF HOLD mode for creating cross-filtering effects
  • Ray Tracing and Allpass based reverb engine
  • Input FREEZE function for creating drones, pads or infinite reverb type sounds
  • SIMPLIFY function that recreates the input’s harmonic content with a small amount of oscillators for additive synthesis type sounds — without the warbliness
  • RICHNESS parameter for adding octave, fifth or unison interval harmonics into the reverb
  • Pre-Processing section including harmonic synthesis based AIR
  • More than 400 presets covering a broad range of effects, including bread-and-butter reverbs, “invisible” reverbs, instrument-/voice-colored reverbs, cross-filtering, adaptively filtered delays, and pads/drones that play without input signal
  • MIDI control of all key parameters

WORMHOLE

Otherworldly Audio Effects Processor

From beautifully shimmering detuned guitar widening and glassy ambient octave-shift tails, to surreal ambiences, starship drones, alien, monster, and robot voices — WORMHOLE is the new indispensable multi-effects powerhouse for sound designers, music producers and film composers alike. Combining ultra-clean pitch/frequency shifting, eccentric spectral warping, dual lush reverbs, and unique dry/wet morphing, WORMHOLE delivers sounds so unearthly you’ll swear they’re from a parallel universe.

Key Features:

  • High-quality multieffects processing ranging from the sublime to the extreme.
  • WARP spectral inversion & warping module.
  • SHIFT unique topology combined pitch-/frequency-shifting module with SMOOTH, TIGHT and two DETUNE modes.
  • Dual lush randomized hall reverbs.
  • Unique dry/wet morphing. 
  • Very wide +- 4 octaves pitch-shift and +-4000Hz frequency shift range, fully aliasing free, with 96dB/oct (!!) carrier and side-band attenuation.

System Requirements

Mac:

  • Apple Mac computer
  • OSX 10.8.x or newer
  • Intel CPU with at least 2 Cores; i7 or better recommended.
  • Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Windows:

  • Windows 7 or newer
  • CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
  • Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
  • For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
  • iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
  • Internet Connection for Software Activation (though not necessarily on the computer used for audio)

Formats:

On MacOS X:

  • Apple AudioUnits (32/64bit)
  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

On Windows:

  • Avid RTAS
  • Avid AAX Native including AudioSuite (32/64bit)
  • Steinberg VST 2.4 (32/64bit)
  • Steinberg VST 3 (32/64bit)

Copy Protection

This software uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (or newer; not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

Please Note

  • The older, first generation (blue) iLok is not supported!
  • While they are highly optimized, our plug-ins use a LOT of CPU due to the complex nature of the magic they perform. Please use the free trial to evaluate whether your system has sufficient resources to utilize the software effectively! We recommend setting your playback buffer size to at least 512 or ideally 1024 samples for optimum performance. 
  • As our plug-ins sport unique features not found in any other software, we highly recommend reading their manuals to ensure you get the most out of them!

Write your review and rate this rating The Best 10 Zynaptiq VST Plugins

Top Zynaptiq VST Plugins
Top 10+ Zynaptiq VST Plugins 2022
SOUND QUALITY
99
VALUE FOR MONEY
97
EASE OF USE
98
FEATURES
97
PRESETS
99
Reader Rating43 Votes
97
98
SM Menu

Categories

Subscribe
News, Reviews, Discounts from stores