Stillwell Audio Plugins Bundle VST v1.52 - пакет высококачественных Vst плагинов для профессиональной динамической обработки звука и его анализа. Производитель - фирма Stillwell Audio. Мастеринговые приборы содержащиеся в одном пакете Stillwell Audio Plugins Bundle VST v1.52 позволят просто и быстро получить необходимый Вам звук. Данный пакет Stillwell Audio Plugins Bundle VST v1.52 содержит: эквалайзер, ревербератор, лимитер, редактор спектра, анализатор, компрессор. Bad Buss Mojo, Event Horizon Plus, Major Tom, Transient Monster, Verbiage, Psychodither, Schope, Spectro.
The Neve 1073 is probably one of the best large-format
console channel modules ever made. Punchy, detailed it was
almost impossible to make it sound bad for its time. Lets
not debate about large chunks of iron and wax/paper versus
electrolytic capslets talk about the sheer genius
involved in picking the proper EQ frequencies, bandwidths,
and slopes. reducing them down to their essence then making
it utterlytransparent and smooth.
Bad Buss Mojo
How to describe this? Well, I guess well just settle for
this: sometimes digital is just TOO perfect. Im not going
to say sterile or lacking soul, because Id wind up
eating my words sooner or later but sometimes you just want
a little grit a little dirt a little imperfection. Thats
where Bad Buss Mojo comes in. Bad Buss Mojo allows you to
dial in specific tweaks to a virtual mix buss amplifier. Is
the rail a little low? Dial it in PSU not quite as stiff
as it could be? Dial in a bit of knee in the bend.
Old-school transistors or even gasp tubes? Dial in some
nonlinear modulation. Itll go from I cant hear that
youve done anything, but I like it all the way up to Why
did you run my mix through a guitar amp? Highly
recommended (the plugin, not running your mix through a
A threshold-driven dynamic envelope editor. A radically new
way to gain total control over dynamics: its a transient
designer, compressor, expander, sound designer, and more.
Adjust an intuitive graphical detection circuit to capture
transients and waveform peaks, and draw high-order Bezier
curves to edit peak dynamics. Use Dyno for anything from
adding a little snap to a snare drum or a little sizzle to
a cymbal, to morphing a bass line into a crazed rhino pump.
All in real time, with amazingly low CPU use.
Event Horizon is a Peak-Eating Limiter huh? Well, maybe a
better description is that its a clipper with an optional
soft-clip circuit. By truncating waveforms short of where
the DAC would go into clipping, you can get VERY
transparent loudness increases; unlike most limiters, Event
Horizon does this with ZERO pumping, ZERO transient or
frequency artifacts, and with ZERO latency. Now, it may not
let you be louder than the latest flavor of the month
mastering limiter, but within its range of operation, you
WILL get an unsurpassed natural sound. Its output is what
comes into it only louder. If you push it too hard, it will
tell you in no uncertain terms that this is no longer the
right tool for the job. Give it a try its fantastically
easy to use, and it sounds great!
MajorTom is not your ordinary compressor, no sir! It was
designed with very specific goals in mind, and blew
completely past them. We like Major Tom can you tell? Major
Tom is intended to be easy to use: there are no attack and
release controls the values vary depending on the level of
the signal relative to its threshold. These values are very
finely tuned to make it as musical as possible, without
requiring a wall full of gold records to hit the right
settings. The attack/release settings are inspired by one
of the true stealth vintage compressors, the dbx 160.
You may not hear about it much, but youve heard it on
records time and time again. Musicality: Thats the second
key. Major Tom WILL pump, but it should do so in a musical,
rhythmic manner. Put it on vocals gently for
smoothing nice. Put it on bass, but dont go
overboard buttah. Put it on drums and go berserk SMACKIN
MicroSchope is a pleasant little VST plugin that may offer
you some usefulness while using very little CPU or screen
Olga is a virtual analog synthesizer unlike any other,
designed from first principles to be distinctive.
Imagine a handmade experiment from an unlikely place, a
synthesizer so full of life and character that it earns the
right to be called a musical instrument. Olga encourages
risk, experimentation, and exploration, and rewards you
with unexpected and exciting sounds, vibrant and human.
This is the dusty gem you could spend your life searching for.
Bezier Antialiased Dynamic Analog Synthesis System: Olga
uses a truly new approach to DSP waveform generation to
emulate glorious analog imperfection. Olgas free running
oscillators are in a constant state of structured
variability, a deeply musical instability, free of aliasing
artifacts and light on your CPU.
Oligarc is a collection of four world class virtual analog
FX, tied together by a modulation nerve center that
converts the input audio into control signals that can be
routed to most of the effect knobs. Oligarc can be an
LFO-driven filter, an envelope-controlled phaser, a
gate-triggered saturation effect, or anything else you can
think up, including mad combinations of linked modulation
of multiple effects at once.
The Oligarc Filter is a sophisticated emulation of a
classic analog ladder filter, complete with nonlinearity,
instability, character, good looks, and danger.
Gods Own Dither. A breakthrough adaptive algorithm reacts
in real-time to the signal audio to preserve the maximum
possible dynamic range at any bit depth. Select a dither
color and dial in psychoacoustic noise shaping power to
choose exactly the right hardness or softness for your
The Rocket is a character audio compressor, singular in its
extraordinary speed, responding in mere microseconds to
variations in program level. Being in the order of several
thousand times faster than most ordinary compressors, we
respectfully submit that The Rocket kicks like a mf.
Violation of the laws of physics and digital signal
processing remain beyond us at this time, and a single
sample at 44.1kHz has a span of 22.6 microseconds. The
Rockets attack time can be below this level, for absolute
certainty that even the very first sample understands that
you are its master. Placed on the master bus, The Rocket
will effortlessly tame transients almost in the manner of a
A multitool, multiview, multichannel waveform,
frequency, and stereo phase analyzer that lets you
superimpose and view multiple audio signals from every
Isolate and zoom in on exactly the part of the signal you
want to see. Freeze the display and use the time offset
knobs to visually scrub frequency changes.
Draw Bezier curves over your audio waveform to create
envelope shapes to follow or clip to. Clean errors, sharpen
transients, or design entirely new sounds. All in real
time, with amazingly low CPU use.
An intuitive, real-time spectral editor. Draw boxes to add
or subtract gain, mute, or solo specific frequency ranges.
Clean up accidental room noise, remove harmonic bleed,
perform surgical EQ, de-ess, or get creative and combine
additive filters for some truly wild effects. It can be
anything from a scalpel to a bludgeon. All in real time,
with amazingly low CPU use.
TinMan is an auto-peaking resonant filter with multiple
pitch detection and individually triggered attack/decay
envelopes. In other words, it listens to your audio and
makes matching spooky wooo-eeee-oooo effects.
This is simplicity itself. It will save your drum mixes.
Two controls: Attack, and Sustain. I would explain more,
but you knowI really dont have to. Put it on your drum
buss. Turn the knobsyou WILL understand, and you will
thank me later. Okay, okayhave you ever had a drum
performance that was REALLY laying down the groove, but the
recorded drum sound just didnt SNAP? Turn up the attack.
Need those ride cymbals to really ring instead of just
dying down into the mush? Turn up the sustain. Too much
bleed and ring getting into your drum tracks? Turn DOWN the
sustain. See? I knew I didnt really have to explain it to
Before convolution reverbs, there were Lexicon, Yamaha,
Eventidehmm. Seems like all the REALLY good reverbs were
around way before everybody got the convolution bug. This
isnt a convolution reverbits an algorithmic reverb put
together the old-fashioned wayfrom your basic ones and
zeroes. Its extremely controllable (try changing the room
size and damping of your average reverb impulsedoesnt
work, does it?), and very flexible. Separate control over
early and late reflections, stereo or mono in (input mix),
stereo or mono out (width), flip wet output channels for
cross reverb (very cool for panning mono instruments and
letting them fill a space without getting overly wet),
high-pass filters, gatingits all there. This is NOT the
reverb you would use to emulate a physical space (thats
what convolution reverbs excel at), but this is a true gem
for sweetening tracks with reverbadding that special
shimmer to tracks that you cant really get any other way.
This is one of those mythical plugins that makes things
sound better just by plugging it in. Really. Unlike 1973,
which is a very pristine EQ plugin (but a VERY good EQ, all
the same), Vibe-EQ is all about color. The more boost or
cut you dial in, the more color and funk you get. This may
not be your go-to EQ every time, but youll wind up using
it more often than youd expect.
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