DeBoom: More Thud, Less MudBased on Eventide's patented Structural Split™ technology, DeBoom is a one knob wonder. The secret to this new, powerful approach to corrective low-frequency EQ is its unique signalseparation process.DeBoom represents a new path forward in resolving common low-frequency problems. Eventide's Structural Split technology makes it possible to surgically sculpt low-frequencycontent in ways never before possible.Tame low-frequency muddiness without losing the thump, remove resonance but keep the punch, and enhance your low-end utilizing this new dimension of sonic sculpting. The NEW Approach to Resolving Common Low Frequency Problems DeBoom is a purpose-driven tool for surgically addressing common low frequency equalization problems. Kick drums, bass, and similar sound sources can contribute to low frequency "muddiness."Traditional EQs 'solve' the problem but cause collateral damage - the drum's thump goes out with the boom. The bass attack gets tossed with its resonance. DeBoom solves this problem by using Eventide's patented Structural Split technology to EQ the tonal portion of the sound separately from the transient. Power users have been doing exactly this using the full-featured SplitEQ plug-in. Eventide put the power of SplitEQ in DeBoom and reduced it to a single, powerful, one knob gesture.DeBoom – Applications
Repair: DeBoom quickly and easily removes low-frequency muddiness without sacrificing impact. It's a powerful, yet simple, tool for repairing audio that otherwise require extensive, clumsy traditional tools.
Reshape: DeBoom surgically "shapes" low frequencies without causing collateral damage.
Enhance: DeBoom can be used to tighten up the low frequencies to better refine their balance.
DeBoom – FeaturesStructural SplitThe beating heart of DeBoom is the same groundbreaking technology found in SplitEQ and Physion. Whatever instrument you process, DeBoom analyzes the incoming audio and separates these components into their respective Transient (noise, pops, mic plosives, vocal sibilance, attacks) and Tonal (sustained notes, harmonics, tone, ambiance) elements. DeBoom uses this information to apply specially crafted EQ curves to the tonal layer of the incoming audio, removing boom and reshaping sounds instantly.Just One KnobA straightforward user interface focused specifically on what matters: De-booming without dethuding.Turn the dial, lose the mud and keep the thud. DeBoom's user interface also includesundo/redo, input gain and built-in bypass.
The H910 Harmonizer was the world’s first digital effects processor. With its unique combinations of pitch shifting, modulation and delay, the H910 can be heard on countless ground-breaking works by artists from AC/DC to David Bowie to Frank Zappa. Simply put, nothing sounds quite like it. A powerful creative tool, the H910 plug-in is a faithful recreation of the original hardware. Use the H910's pitch changing ability to create specific musical intervals and perfect harmonies, spread guitars, fatten snares, apply subtle organic de-tuning to synths or add slap-back delays to vocals. At extreme settings, you can create unheard-of mechanical sounds, drone effects or robot language using self-oscillation, delay, and anti-feedback. Two is Better than One. When you purchase the H910 Harmonizer plug-in, you also receive Eventide’s exclusive H910 Dual Harmonizer. This version recreates the popular technique of running two H910 units in parallel to create lush doubling and other interesting effects.Features
NEW Keyboard and MIDI mapping - The original H910 featured a keyboard remote control which was used live by several artists including Elton John. With the H910 plug-in you can easily use MIDI to control pitch and harmonization in real-time.
NEW Envelope Follower -Engineers and producers discovered that sending a control voltage to the hardware H910 could be used to slightly (or massively) vary the pitch, creating entirely new sounds. The built-in envelope follower makes exploring these possibilities easy.
NEW OUT2 Delay Group - adds inspiring attributes to your sound.
True analog modeling of highly nonlinear electronics for faithful reproduction of the original H910's juicyness and grit.
Perform perfect pitch changes controlled manually, via MIDI or with Anti-Feedback.
Anti-Feedback modulates the pitch around unity for a subtle or wild effect.
Optional "glitching" of original H910 hardware to create unpredictable sounds as it alters pitch.
Modify pitch by musical intervals (diatonic) to harmonize vocals or solo instruments.
Delay rhythms and melodies to create everything from slap-back echoes to feedback chaos.
Create colorful, unique sound effects and drones through self-oscillation.
Individually control delay outputs and dry/wet mix.
Mix Lock allows for scrolling through presets or settings while keeping the dry/wet mix constant.
BONUS: H910 Dual
H910 Dual recreates two H910 units running in parallel to create doubling effects and other unique sounds.
H910 Dual easily fattens and thickens instruments when assigning opposite pitch ratios.
H910 Dual Stereo (cross-unit) Feedback can cause the incoming signal to shift up and then down continuously.
Depth controls the intensity of the effect. 100% adds the delayed signal to the dry signal. -100 % subtracts the dry signal from the delayed signal
Three distinct flavors of flanging. Set the Mode switch for Shallow, Deep or Wide
Manual control allows you to control the ‘comb’ effect by turning the Big Knob
Oscillator drives the flanging at a user defined rate
Envelope Follower drives the flanging based on the signal’s amplitude
Remote maps the flanging control to a mod wheel for tactile manipulation
Bounce mimics the distinctive effect of the tape machine’s capstan motor “hunting” for its proper speed when the engineer's thumb was lifted from the tape reel flange
“Side Chain” allows for triggering the Envelope Follower from any source in the mix for inter-track mingling
Exercise total control of the Oscillator with Sync and Retrig
Tame the intensity by removing low frequencies from the flanged signal with the Low Cut control
Introduced in 1971, the Omnipressor rack unit was widely used on hit records throughout the last four decades. One of our first customers was a young Brian May, lead guitarist of Queen. With the Omnipressor in his rig, his sound was never the same again.Features
Dynamics processing for creating otherwordly sounds
Gating, expansion, compression, limiting, and Dynamic Reversal
Intuitive interface makes it simple to operate with the use of a Function dial
Sheen Machine: A One Knob WonderBased on Eventide's patented Structural Split™ technology, Sheen Machine makes it easy to accentuate the "airy" quality of any signal without adding nasty sibilance or harshness.The secret behind Sheen Machine's magic is its ability to separate the transient and tonal parts of any audio signal. It offers a new path forward for adding tonal high-end without boostingtransients. Add vocal sheen, not sibilance. Add air, not harshness. Make dull signals shine.Eventide's Structural Split™ technology lets you surgically sculpt high-frequency content in ways never before possible.The NEW Approach to Adding Tonal SheenSheen Machine is a purpose-driven tool for adding smooth and airy high-end to sound sources without introducing the high-frequency harshness often generated by a traditional high-shelfboost. Using Eventide's patented Structural Split technology, Sheen Machine provides a simple solution for resolving complex problems often introduced when adding "sheen" to a signal,allowing for independent control over the transient and tonal layers of a signal without implicitly impacting the entire audio signal like a traditional EQ would. Power users have beendoing exactly this using the full-featured SplitEQ plug-in. We’ve put the power of SplitEQ in Sheen Machine and reduced it to a single, powerful, one knob gesture.Sheen Machine – Applications
Repair: Sheen Machine makes it easy to add tonal high-end to an otherwise dull recording or add "airiness" to vocals helping them shine brightly in a mix.
Rebalance: From subtle to dramatic, musically rebalance vocals, synths, and other instruments by surgically adding tonal-high end without causing harshness.
Enhance: Enhance the high-frequency information of incoming signals, adding vibrance to sound sources with ease.
Sheen Machine – FeaturesStructural SplitThe beating heart of Sheen Machine, built on the same ground-breaking technology found in SplitEQ and Physion. Whatever instrument you process, Sheen Machine analyzes the incomingaudio and separates these components into their respective Transient (noise, pops, mic plosives, vocal sibilance, attacks) and Tonal (sustained notes, harmonics, tone, ambiance)elements. Sheen Machine uses this information to apply specially crafted EQ curves to the transient and tonal layers of the incoming audio, adding “airiness” and “sheen” without addingharshness.Just One KnobA straightforward user interface focused specifically on what matters: Adding tonal sheen to incoming audio. Turn the dial, hear the added sheen. The Sheen Machine user interface alsoincludes undo/redo, input gain and built-in bypass.
UltraChannel features micro pitch functionality from our flagship H8000, stereo delays with variable feedback paths, plus two stages of compression, gating, and five bands of parametric EQ.O-PressorUltraChannel features a pair of dynamics processors: the O-Pressor, capable of extreme compression (this is the compressor section of the Omnipressor®) and a conventional compressor with de-essing and side-chain capability.Soft-Saturation and Transformer emulation which recreates transformer core saturation.This feature adds harmonics to low frequency material while remaining relatively transparent to the rest of signal. While relatively subtle, in aggregate, Transformer can bring life to otherwise dull mixes and help glue disparate sound sources together.FlexiPathAllows drag and drop for reordering the signal path of the top level components (O-Pressor, compressor/de-esser, EQ, Gate).PresetsUltraChannel includes a variety of factory presets tailored to signal sources such as guitar, bass, kick drum, snare, piano, strings, synths and vocals. A number of the presets were created by Eventide artists.
9 High End Hardware-Based Reverb Algorithms Bundled in a Single Native Plug-in. UltraReverb comes packed with over 300 killer presets and features reverbs from the H8000, compression, EQ and delay integrated for the most flexible reverb plug-in available.Features
Halls, Chambers, Rooms, Plates, and Ambience derived from Eventide's flagship hardware processor, the H8000 UltraHarmonizer®
Create acoustically natural or other-worldly environments
Packed with over 300 killer presets for mixing, mastering, post production, and sound design
Includes Artist Presets designed by top engineers and recording professionals
Session compatible with Eventide Reverb HD/TDM from the Anthology II bundle
Stereo Delays (pre or post reverb) with Tempo sync to lock delays in time with your session
Compressor (pre or post reverb) with key input
Pre-EQ, Post-EQ, Reverb EQ and Delay EQ – Four independent, three band parametric equalizers
Reverb Tail Randomization based on the legendary H949 Harmonizer® Random setting
Modulation Rate and Depth controls
LoFi control for subtle grit or all out mangling
This mic is an exact replica of C12 and involves a modern style power supply with integrated pattern switch. As standard, it is equipped with Tim Campbell's CT12 capsule - great choice if you are considering the clones of original CK12. The mic is equipped with 6072 tube. The transformer is our own replica of original . Considering the sound, it is simply "Rolls-Royce". In some applications this mic will seem somewhat neutral, but it benefits will stand out during mixdown. It's fantastic for vocals, acoustic instruments as well as ambient miking. Those, who have not experienced, will not believe.
Includes: microphone in wooden box, power supply, cable with swivel mount connector
FLEA 49 is an exact replica of M49 microphone. All mechanical parts are absolutely exact replicas. FLEA 49 is fitted with capsule F7 - our exact replica of legendary M7 capsule. Another important part is transformer which is also our exact replica of transformers used in M49 mics. The last important part of the electronical system of the microphone is its tube, triode, carefully selected for noise reduction. This mic is fantastic not only for female vocals. You can - taste it !!! The sound is soft and pleasant. The full set includes microphone in wooden box, PSU, cable.
FLEA 50 is our replica of famous M50 microphone. All mechanical parts are identical to original. FLEA 50 is fitted with our own capsule and transformer. As you know, this mic is great to use on AB stereo recording technique. Best for symphonic orchestra miking or as a spot microphone for acoustic instruments. This is not end of use of this microphone. Try and you will love it !!! Clear and pleasant sound. The full set includes microphone in wooden box, 115/230V PSU, cable, and of course safe flight case.
Includes: microphone in wooden box, power supply, cable, yokemount.
The Flea M 251 is a meticulous recreation of the legendary Telefunken ELA M 251 tube large diaphragm condenser microphone.
The Flea M 251 features Tim Campbell’s CT12 capsule, a replica of the edge-terminated, gold-plated CK12, and carefully selected 6072A tubes. The M251 also includes Flea’s identical T 14/I transformer clone delivering the unmistakable sonic character of the microphone.
All wiring is based on the last upgrade made by Andreas Grosse, and all connecting parts, pins and terminals are gold-plated, ensuring the best performance and lower noise.
AT A GLANCE
Exact clone of the legendary ELA M 251 microphone
Tim Campbell's CT I2 capsule - exact replica of the CK12
Selected 6072A tube
Our identical clone of T14/ I transformer
All important connecting parts, pins, and terminals are gold-plated.
Wiring is based on the last upgrade from Andreas Grosser, which makes this microphone less noisy.
TUBESESSOR - Optical Tube Compressor
The Heritage Audio TUBESESSOR is an optical tube compressor with an absolute sweet, warm and natural dynamic control possible, but also the possibility to spice up the sound up on occasion.
Tube compression, especially based on an optical design, is generally considered to be warmer than VCA and FET designs, and it tends to provide a very pleasant, more natural, smoother result. This has made it the preferred choice for seasoned engineers and producers that want to provide a very transparent control over a signal while offering a hint of enhancement but keeping true to the original tone. For this very reason optical tube compressors are usually the first thing one reaches for when dealing with critical vocals and bass signals. The TUBESESSOR is the perfect option for this.
Analog excellence is achieved by combining an all tube-based amplification stage with an outstanding UTC A10 input transformer replica by AMI, as well as a custom all-silicon steel output transformer. With an elevated internal operating voltage you can be sure the TUBESESSOR will heat up any signal while also maintaining its character and vibe. No starved plate circuits here! Never has dynamics control been so easily obtainable while at the same time so invisible. Even with generous amounts of gain reduction being applied anything processed with the TUBESESSOR still maintains its clarity and depth.
Thanks to the TUBESESSOR´S three unit high front panel you´ll find plenty of room to adjust the large Herchild-style knobs making it a breeze to achieve the desired sound. No cramped spaces here, just plenty of space to easily and quickly adjust the settings to taste.
Now, we all know it would not be a Heritage Audio product without our expertise and passion channeled into a couple key features that take the TUBESESSOR to another dimension.
First of all, for those times when a bit more texture and bite is called for, there´s nothing better than a little saturation…or maybe a lot. The innovative TUBE SATURATION section takes full advantage of a creamy sounding NOS Raytheon double triode tube to add in just a pinch of aggression or fully transform the signal into something ready for war. It, importantly, works in tandem with the custom output transformer to produce the right harmonic content. There are 4 available settings that vary from CLASSIC, no saturation, all the way to HOT, a heavily treated signal. This feature alone opens up a ton of possibilities for drums and other instruments vastly expanding the TUBESESSOR´S uses. And thanks to Heritage Audio´s use of an audiophile-grade Psvane dual output triode in a totem pole configuration, a solid output stage is guaranteed all while allowing much higher headroom than other tube compressors, whether vintage or modern.
Secondly, there are also five internal sidechain filter settings to choose from. This is the exact same filter section that helped the SUCCESSOR obtain its legendary status. Two of the options make sure the compressor is not being unfairly overpowered by lower frequencies and the other three are frequency specific options for extra creativity.
Continuously adjustable ATTACK & RELEASE controls in addition to a FIXED mode and a combination of the two will provide all the necessary settings possible, allowing you to mold your signal exactly as you´d like. A huge, attractive custom VU meter for monitoring either Input, Output or Gain Reduction guarantees you´ll always be informed with a clear reading of exactly what is happening. Everything you could possibly require to achieve a top-notch professional recording.
As is the case with other tube offerings from Heritage Audio, the company has sourced NOS tubes for a lifetime, making sure your investment is safe and sound.
Features
Optical Compression Detection
All Tube-Based Amplification Stage
Fully Transformer Balanced Input & Output
Tube Saturation Section
Large Friendly Interface
Extensive Attack & Release Control
5 Built-In Sidechain Filtering Options
Huge Informative VU Meter
Built Like A Tank
MÄAG AUDIO’S NEWEST CREATION IS THE PREQ2™ DUAL MIC PREAMP WITH EQ, A COMPLETE ANALOG SYSTEM FOR EITHER RECORDING OR MIXING HOUSED IN A 1U STANDALONE UNIT. IT COMES WITH CLIFF MÄAG’S VENERABLE AIR BAND® SHELVING EQUALIZER FIRST INTRODUCED IN 1993 WITH HIS NTI EQ3 EQUALIZER.
THE PREQ2 WILL HANDLE EITHER LINE OR MICROPHONE SIGNAL LEVELS WITH TWO MATCHED CHANNELS BOTH WITH SEPARATE REAR PANEL LINE LEVEL INPUT AND MICROPHONE XLR CONNECTORS AND SWITCHABLE +48-VOLT PHANTOM POWERING. THE REAR PANEL ALSO HAS XLR OUTPUT CONNECTORS FOR EACH CHANNEL AND A ON/OFF/FUSE MAINS SWITCH.
ALL SWITCHES ON THE PREQ2 HAVE COLORFUL LEDS TO CONFIRM THEIR OPERATION AND ALL CONTROLS HAVE DETENTS WITH THE EXCEPTION OF THE CONTINUOUSLY VARIABLE MICROPHONE GAIN.
MICROPHONE INPUTTHE MÄAG AUDIO PREQ2 MICROPHONE PREAMP HAS UP TO 71DB OF GAIN SPLIT BETWEEN A DISCRETE CLASS-A TRANSISTOR PREAMP ALONG WITH A LARGE, NICKEL-CORE MÄAG AUDIO-BUILT INPUT TRANSFORMER (ONE FOR EACH CHANNEL). THIS CIRCUIT OFFERS A CLEAN, DETAILED SOUND WITH +27DBU OF HEADROOM AND AN EIN NOISE LEVEL OF -128DB. THERE ARE TWO OPTIMIZED GAIN RANGES SELECTABLE ON THE FRONT PANEL. THE DEFAULT GAIN RANGE IS +20DB TO +42DB AND A +42 TO +71DB GAIN RANGE IN HIGH GAIN MODE USING THE FRONT PANEL’S 25DB GAIN SWITCH. MAXIMUM INPUT LEVEL IS +8DB.
THE MICROPHONE INPUT SECTION HAS FRONT PANEL SWITCHES, LED INDICATORS AND BUTTONS FOR: +48-VOLT PHANTOM POWERING, -20DB ATTENUATION PAD, PLUS SIGNAL PRESENT, +26DBU PEAK LEDS, AND PHASE OR POLARITY FLIP. MICROPHONE GAIN IS CONTINUOUSLY ADJUSTABLE USING A SINGLE, LARGE MIC GAIN CONTROL KNOB.
LINE INPUTTHE FRONT PANEL LINE SWITCH TOGGLES THE REAR PANEL XLR LINE INPUT CONNECTORS IN PLACE OF THE MICROPHONE PREAMP’S OUTPUT (AFTER THE INPUT TRANSFORMER AND MICROPHONE PREAMP). IT IS POSSIBLE TO KEEP BOTH A MICROPHONE AND A LINE LEVEL SOURCE ALWAYS CONNECTED TO THE PREQ2 AND TOGGLE BOTH CHANNELS SEPARATELY. YOU COULD HAVE ONE CHANNEL WORKING AS A MICROPHONE PREAMP CHANNEL AND THE OTHER AS A LINE LEVEL AMPLIFIER FOR RECORDING A DIRECT MUSICAL INSTRUMENT (BASS OR GUITAR) AT THE SAME TIME.
BOTH MIC INPUT SECTIONS HAVE ¼-INCH TS JACKS FOR HIGH IMPEDANCE (1 MEGA-OHM) INSTRUMENT INPUT WITH A COMPANION ¼-INCH OUTPUT THRU JACK THAT SIMULTANEOUSLY PROVIDES AN ISOLATED, BUFFERED OUTPUT—A “COPY” OF THE INSTRUMENT INPUT SIGNAL AT UNITY GAIN. IN ADDITION TO PROVIDING AN UNBALANCED SIGNAL FOR RUNNING LONG LEADS OUT TO INSTRUMENT AMPLIFIERS IN THE STUDIO AND/OR STOMP PEDALS, FOR LIVE RE-AMPLIFYING THE THRU JACK’S OUTPUT SIGNAL IS ALSO ACTIVE WHEN USING THE XLR MICROPHONE INPUT.
WHEN USING THE INSTRUMENT INPUT TS JACK, THE MÄAG AUDIO PREQ2 USES AN AUTOMATIC DETECTION CIRCUIT TO SWITCH (USING A RELAY) AND ROUTE THE UNBALANCED ¼-INCH INPUT SIGNAL TO THE MIC INPUT TRANSFORMER. THE IMPEDANCE IS LOWERED FOR A BETTER MATCH TO THE TRANSFORMER. THIS DETECTION CIRCUIT MAKES IT IS IMPOSSIBLE FOR THE 48-VOLT PHANTOM POWER TO EVER REACH THE ¼-INCH OR XLR LINE INPUT EVEN IF ALREADY TURNED ON.
EQUALIZATION SECTIONSTHE MÄAG AUDIO PREQ2 HAS THREE EQUALIZER/FILTERS SECTIONS; THE LAYOUT AND CONTROL COMPLIMENT ARE IDENTICAL FOR BOTH CHANNELS. THE EQUALIZER DESIGN IS SPECIFICALLY DESIGNED FOR BOTH RECORDING AND/OR SUBTLE TOUCHUP TONALITY CHANGES AND EUPHONIC ENHANCEMENTS.
ON THE LEFT SIDE OF THE CHANNEL IS THE FIRST CONTROL FOR THE 2ND ORDER, 12DB/OCTAVE HIGH PASS FILTER. IT IS FULLY VARIABLE USING A 21-DETENT CONTROL TO SWEEP FROM 20HZ TO 200HZ. IT HAS ITS OWN HARDWIRED, IN/OUT BYPASS SWITCH.
NEXT IS THE LOW FREQUENCY BELL-SHAPED EQUALIZER SECTION WITH A BOOST (ONLY) CONTROL AT 6DB/OCTAVE. FREQUENCIES ARE SWITCHED USING A SIX POSITION ROTARY SWITCH AND ARE: 10HZ (SUB) SHELF, AND BELL-SHAPED CURVES FOR 40HZ, 65HZ, 100HZ, 125HZ, AND 165HZ. UP TO 9DB OF BOOST IS AVAILABLE.
AIR BAND®THE THIRD BAND OF THE EQUALIZER IS THE MÄAG AUDIO AIR BAND SHELVING SECTION WITH 2.5, 5, 10, 15, 20, AND 40-KHZ FREQUENCY CHOICES WITH ITS OWN CONTROL AND UP TO 9DB OF MAXIMUM BOOST. BOTH THE AIR BAND AND LOW FREQUENCY EQUALIZERS SHARE A SINGLE BYPASS PUSH-BUTTON.
Mastering with a Brain. Elevate is the most advanced mastering plug-in ever created. This unique multi-band limiter, human-ear EQ and powerful audio maximizer will increase the loudness of your mix while maintaining or improving its dynamic perception. It uses intelligent, adaptive technology that responds in real time to your music; creating not only the loudest, but the best sounding master. Developed by Newfangled Audio, Elevate maintains subtle dynamics and improves the tonal balance of your mix. The adaptive limiter analyzes 26 frequency bands and alters the gain, speed and transients for each band in real time. The result is a transparent, natural sound, no matter how hard you push it.Features
Analyzes and alters the gain, speed and transients of each filter band in real time.
Includes presets by: APS Mastering, Matt Lange, Jeremy Lubsey, Eric Beam, ROCAsound, Chris Tabron and John McCaig.
Automatically adapts the attack, release and look-ahead parameters for each filter band to greatly reduce "pumping" and breathing artifacts and perceived distortion.
Preserves or emphasizes fast transients to avoid squashing your mix.
Manipulates transients across the critical bands to preserve the attacks from kick drums, snares and cymbals, without affecting the entire mix.
Uses linear phase auditory filters — based on the Mel Scale — to manipulate the audio in a way that is natural to your inner ear.
Solo the output of one band (or a number of bands) to hone in on problem frequencies, tweak transients or alter gain.
Use the Auto Output Level feature to compare the limited signal to non-limited signals with the same amount of gain allowing you to easily hear what impact the processing is having on your sound.
Use the Spectral Clipper to overdrive the final output without affecting the tonal balance or allowing the signal to get “tubby.” Perfect for a more aggressive sound.
Six different types of metering allow you to keep an eye on every aspect of your output audio.
Perfect for mixing and mastering, EQuivocate's auditory filters and match EQ functionality make it incredibly powerful, simple to use, and natural sounding.EQuivocate uses filters which are modeled on the human ear. Each of the 26 critical bands tickles a different part of your inner ear, making any combination of settings sound as natural as possible. Combining this with a linear-phase filter shape that reduces pre-echo makes EQuivocate an EQ with a difference you can hear.Features
Simple yet musical, the 26 linear phase auditory filters are shaped to approximate the critical band filters in your ear.
Match EQ feature matches the tone of one track to another. Blend two tracks to sound like they came from the same source, complement each other for better separation, or make a final master have a similar tone to a reference track!
Click and swipe your mouse across the gain slider field to draw an EQ curve. Then toggle Draw Curve off to fine tune.
Use the output level Auto button to automatically compensate for level changes introduced by the EQ.
Solo the output of one or more bands to easily find problem frequencies.
Add or remove filters to customize your sound.
Includes artist presets from Richard Devine, Jeremy Lubsey, Alex Saltz, Sebastian Arocha Morton, Richard X, and John McCaig.
Start with the presets or create your own. Use the Compare button to toggle between two unique settings.
Add Life to your Tracks
Here’s a little secret: compression, limiting, and overdrive are all the same thing—and all of them can be used to add energy and excitement to your music. Invigorate is a deconstructed compressor, limiter, and overdrive distortion fine-tuned to add life to your mix, drum bus, or any other element. The intuitive design allows you to effortlessly morph from pumping compression, through hard-hitting limiting, to rich distortion while dialing in the perfect sound with the prominent MIX control. The result is guaranteed to bring your mix forward and give it the energy you’re expecting from a finished record.
Features
Unique Radar control allows you to dial in the perfect amount of gain while morphing from compression, through limiting, to distortion.
Prominent MIX knob allows you to dial in just the right amount of character.
Single gain curve for all three effects makes it easy to dial in just the right sound.
SHAPE, SQUASH, and GATE controls for the gain curve give the perfect amount of control over your tone.
An aggressive level detector makes the compression pump and breathe when desired.
Oversampling and Anti-aliasing assure clean sonics with no digital aliasing
Based on the Transient Emphasis section of the award-winning Elevate Mastering Limiter, Punctuate is a multi-band transient modulator based on the critical bands in the human ear. Punctuate’s intelligent algorithms allow you to control the transient emphasis or suppression of all 26 critical bands with just 4 controls. This makes for an incredibly powerful, but very easy to use, transient modulator.Transient shapers are used by top mix engineers to either crank up or soften the transients of instruments, emphasizing either the attack or sustain. However, traditional transient shapers work on the whole signal at once, modulating the whole frequency range when the transient snap is only happening in one band. Punctuate uses a model of the human ear to run a set of transient shapers across the whole spectrum of human hearing. This allows you to tailor the attack of a whole range of instruments, busses, and whole mixes without messing with the entire frequency range. The result is unparalleled transient shaping power-focused where you need it, and not where you don’t.You can:
Turn the drums up or down in an entire mix
Turn up just the kick drum, without effecting the bass
Pull hi-hats out of the snare mic
Turn up the snare crack, while turning down the thump
Bring instruments like acoustic guitars and pianos forward in the mix, or push them back
Breathe life back into dull or overcompressed mixes
Features
26 Transient Modulators aligned to the critical bands of the human ear
Adaptive Transient slider allows bands to work independently or smoothes them for more natural processing
Emphasize or Suppress transients in each band, using the global Transient Emphasis slider to scale the overall processing
Transient Length and Adaptive Transient Length controls allow you to fine tune the transient length
Scrolling meter display shows the transient modulation in each band
Mix control for parallel processing
Same mastering quality input and output section available in all Elevate plug-ins
Solo and reconfigure the bands for in depth sound design
Science Behind PunctuateHumans can only detect the presence of a tone if it is a certain distance from another tone playing at the same time. The Mel Scale defines the arrangement of auditory frequency bands such that each band sounds equally spaced from all others. This division of sound describes how humans hear. Most graphic EQs are IIR (infinite impulse response) or analog-style filters. These have a lot of great properties, but unfortunately, the shape of an IIR filter isn’t very flexible. For instance, even with every band set flat, the total filter shape isn’t actually flat. Furthermore, when you boost or cut each band you’re affecting the ones next to it as well. Punctuate uses a linear phase FIR (finite impulse response) filter that doesn’t have these problems so what you hear is true to what you see on the screen.Instead of using what DSP engineers call “ideal” rectangular FIR filters, these are triangularly shaped filters. These are often used in hearing models as a first approximation to the critical bands in your inner ear. When you shape filters like the ones in your ear, the filtered signal sounds natural. In a complex signal, at any given time, you can really only hear one sound source in each filter.Punctuate uses these filters to break the incoming audio signal into the 26 critical bands, and runs a transient shaper on each band for unprecedented control over the transients of the audio signal. By doing this, Punctuate allows you to add punch in only the places where the signal needs, instead of just slamming the level of the entire signal up and down at the transient point. Because you have independent control over the bands, you can even emphasize transients in some bands while suppressing them in others. And because it’s based on Critical Bands, it does this in such a way that sounds natural to the human ear, so you don’t hear any artifacts. Finally, Punctuate allows you to smooth the transient modulation across bands using the ADAPTIVE TRANSIENT control. This allows you to run the bands independently for ultimate control, or couple them for a smoother sound.
Saturation plug-in ideal for single tracks or the entire mix
Smoothly adjust from the softest to the hardest possible clipping shape
Spectral Clipper maintains tonal balance for an always pleasant saturation sound
Independent INPUT and OUTPUT levels, with AUTO output level scaling for easy and precise gain scaling
Saturation Curve Display and Meter shows you how your signal is hitting the selected clipping shape
Mastering Quality Input and Output metering show you both peak and rms levels
Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind.
Produktdetails
Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme
Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements
Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer
Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit
Übertrager im Humbucker-Design für extrem geringes Grundrauschen
Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit
Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen
Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements
Erhältlich als Matched Pair
Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind.
Produktdetails
Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme
Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements
Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer
Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit
Übertrager im Humbucker-Design für extrem geringes Grundrauschen
Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit
Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen
Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements
Matched Pair
Mit dem 25th Anniversary R-121 feiert Royer das Jubiläum des legendären R-121 mit einer einzigartigen, limitierten Auflage. Das R-121 Distressed Rose bietet unverändert den gleichen Charakter und Klang des klassischen R-121 und fügt ihm eine atemberaubende Lackierung hinzu, die Fans und Sammler des R-121 begeistern wird. Abhängig vom Licht erzeugt die spezielle "Distressed Rose"-Lackierung eine Vielzahl von wunderschönen Farbtönen: Von einer dunklen Bourbon-Farbe bei schwächerem Studiolicht und auf der Bühne bis hin zu einem satten Rosé-Ton bei hellerem Licht. Die Auflage des R-121 Distressed Rose ist auf 500 Stück weltweit begrenzt.
Das R-121 wurde 1998 auf den Markt gebracht und war das erste moderne Bändchenmikrofon, das sich radikal von anderen Mikrofonen abhob und damit die Wiedergeburt des Bändchenmikrofons einleitete. Das R-121 ist weltweit ein Standard für Abnahme von E-Gitarren und eines der besten Mikrofone für Blechblasinstrumente, Drum-Overhead, Kick-Drums, Klavier, Snare-Drum, Akustikgitarre, Violine, Percussion, Harfe, Cello... die Liste lässt sich beliebig fortsetzen. Um ein Instrument so natürlich wie möglich aufzunehmen, ist das R-121 die perfekte Lösung.
Das R-121 Distressed Rose ist eines der am besten aussehenden und am besten klingenden Mikrofone, sowohl für den täglichen Gebrauch als auch als Sammlerstück.
Eigenschaften
Limitierte Auflage des R-121 mit "Distressed Rose"-Finish
Verträgt hohe Schalldruckpegel
Keine aktiven internen Komponenten, die bei hohen Schallpegeln Verzerrungen erzeugen könnten
Extrem niedriges Grundrauschen
Bändchenelement wird von Hitze und Feuchtigkeit nicht beeinträchtigt
Keine hochfrequenten Phasenverzerrungen
Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements
Konstanter Frequenzgang (unabhängig von der Distanz)
Matched Pair
Broadcast Production CollectionDas SONNOX Broadcast Bundle enthält eine Zusammenstellung an fünf hochwertigen Plugins, die speziell für Broadcast Anwendungen zusammengestellt wurde. Die enthaltenen Plugins des SONNOX Broadcast Bundles:Oxford EQOxford DynamicsOxford InflatorOxford Limiter Oxford SuprEsser
Broadcast Production CollectionDas SONNOX Broadcast Bundle enthält eine Zusammenstellung an fünf hochwertigen Plugins, die speziell für Broadcast Anwendungen zusammengestellt wurde. Die enthaltenen Plugins des SONNOX Broadcast Bundles:Oxford EQOxford DynamicsOxford InflatorOxford Limiter Oxford SuprEsser
The Oxford DeBuzzer is divided into two stages: Detection and Removal.
Buzz removal is usually accomplished using a comb filter. The comb filter has many tight notches that eliminate the fundamental frequency and associated harmonics of the buzz. For this process to work well, the fundamental frequency must be very accurately determined.
The DeBuzzer has several ways of helping isolate the fundamental frequency.
First is the Peak Profile that is displayed above the central rotary control, which shows the strength of a given nominal frequency in the input signal. Second is the large FFT display which accentuates any frequency components that are consistently present, making them stand out in the plot. It will automatically mark the three highest peaks found, and you can set the nominal frequency by clicking one of the peaks on the graph.The third method of isolating the fundamental frequency is a tone generator. In the same way as you can tune a guitar, as you home into the fundamental, the beat frequency between the tone and the fundamental will become slower and slower the closer you get.
Three Tracking Modes
The DeBuzzer has three modes, Fast, Auto and Freeze. By default the plug-in assumes Auto mode, continuously hunting either side of the nominal frequency for a peak profile. Once the lock strength rises to be above a certain level, the plug-in automatically sets the nominal frequency to the frequency of the peak found. If the hum is wandering in frequency, the detector will follow. Auto Mode is suitable for tracking a weak, slowly wandering fundamental and operates over all three frequency bands. Fast tracking mode allows the removal filters to automatically follow a quickly wandering fundamental.In Auto Mode the nominal frequency is set with the large central rotary to within about 5Hz of a 50Hz or 60Hz hum frequency, the plug-in will automatically move towards the detected frequency and set itself up to remove it. Once the hum has disappeared, Freeze mode can be selected to set the nominal to this exact frequency and stop the detector from hunting.
The large central rotary control can be setup to control three frequency ranges, determined by the LF, MF and HF buttons, and can be set with a very fine resolution of 1/10,000Hz
For removing whines and whistles it is best to set Freeze Mode, and then use the FFT to find the frequency of the whines. These show up as peaks on the plot, and then you can click on a peak to set up the plug-in to remove that frequency.
Filter Choice
In terms of the removal filters, the default is a comb filter. However, you can override this by selecting Para-EQ mode, which means using parametric EQ sections to remove the fundamental and harmonics. If the buzz contains many harmonics, or if the frequency of the buzz is wandering, it is best to use the Comb filter. If there are only one or two harmonics to remove, then you may find that you prefer the sound of the parametric EQ filters.In Para-EQ mode you can reduce attenuation as you increase in frequency, with the Slope control, and you can choose to notch out odd and even harmonics, as opposed to only odd harmonics.
Output
The listen section of the Output Panel contains an option to listen to the difference between the input and the processed output. This is labeled 'Diff' and is particularly useful for hearing what has been repaired, and for listening to the quality of the repairs without being distracted by the audio material.
System Requirements
Pro ToolsPro Tools 6, 7, 8 & 9 (Pro Tools 7, 8 & 9 for SuprEsser & Restore Suite)Approved Pro Tools CPU, OS and hardware configuration : avid.comMac OSX 10.3 or later - 10.4 or later for SuprEsser & Restore Suite - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitRAM 1GB minimumiLok key with latest drivers
Audio UnitsPro-Codec is compatible with Intel Mac onlyAudio Units compatible application (Logic, Digital Performer etc.)Mac OSX 10.4 or laterRAM 1GB minimumiLok key with latest drivers VSTVST compatible application (Cubase, Nuendo, Wavelab, Sequoia etc.)Mac OSX 10.4 or later - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitSupports DAW's installed in 64-bit mode on 64-bit Windows operating systems*RAM 1GB minimumiLok key with latest drivers PowerCoreTC PowerCore hardwarePowerCore version 2 drivers or laterAU or VST host applicationMac OSX 10.4 or laterWindows XP / Vista32 / Windows 7RAM 1GB minimumiLok key with latest drivers