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Tag: audio plugins

  • XILS-lab Hearkens to The Roaring Twenties with Les Diffuseurs

    XILS-lab Hearkens to The Roaring Twenties with Les Diffuseurs

    We love XILS-lab and their inspired collection of synth plugins, like XILS 4, KaoX, and PolyM. They inspire chaos with their detailed emulations of those classic synthesizers of yore. This time out, Les Diffuseurs sees Xavier and his team train their eyes on the legendary Ondes Martenot with this unique effect plugin. Check out their press release below.

    XILS-lab Les Diffuseurs
    XILS-lab’s Les Diffuseurs and its La Palme effect plugin. Image courtesy XILS-lab.

    XILS-lab looks to the past to produce present-day Les Diffuseurs bundle of outlandish effect plug-ins inspired by ondes Martenot speakers

    GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of its Les Diffuseurs effect plug-in bundle — turning to the Twenties (read: early 20th Century), and an early electronic musical instrument called the ondes Martenot, more specifically French inventor Maurice Martenot’s Métallique and Palme so-called diffuseurs speakers, as inspiration for its La Palme and Le Metallique effect plug-ins to effectively enable anyone to experience the outlandish sounds of those ‘unobtainium’ originals from the comfort of their present-day DAW (Digital Audio Workstation) — as of April 9…

    As an early electronic musical instrument inspired by the accidental overlaps of tones between military radio oscillators, the ondes Martenot — literally translating from French as Martenot waves — dates all the way back to 1928 when it first appeared as the result of its French inventor namesake Maurice Martenot’s intention of creating a new instrument with the expressiveness of a cello. Clearly there was some correlation there between Martenot himself being a cellist and also working as a radio operator during the First World War. While there were several ondes Martenot versions available during an admittedly impressive 60-year-manufactured-to-order run — it can, for example, be played with a metal ring worn on the right index finger, sliding the ring along a wire to produce Theremin-like tones generated by oscillator circuits using vacuum tubes, or, in the case of the seventh model, transistors — that all the same saw Martenot remain resolutely uninterested in mass-producing his namesake instrument, it was the challenge of effectively reproducing the outlandish sounds of two of four speakers known as diffuseurs that Martenot specifically created for the instrument in question that truly excited the ears of fellow Frenchman Xavier Oudin, obviously prompting his audio software company XILS-lab to turn its attention to collectively set about duly developing and now launching Les Diffuseurs.

    As an effect plug-in bundle par excellence, Les Diffuseurs comprises La Palme — inspired by Maurice Martenot’s Palme speaker first presented alongside the sixth version of the ondes Martenot in 1950, itself anchored around a resonance chamber laced with strings tuned to all 12 semitones of an octave so that when a note is played in tune it resonates a particular string, producing chiming tones — and Le Metallique — inspired by Maurice Martenot’s 1932-vintage Métallique that features a gong instead of a speaker cone, thereby adding a specific metallic character to the overall ondes Martenot sound. Saying that, though, present-day digital technology-based breakthroughs have not only allowed Xavier Oudin — ably assisted by Nori Ubukata, a renowned sound designer (think Japanese giant Yamaha’s GS-1, DX7, SY99, and other notable FM synths), synthesist, and Thereminist, together with synth designer Yves Usson (primarily known for his work on French music hardware and software specialist Arturia’s MiniBrute and MicroBrute monosynths) — to effectively reproduce the outlandish sounds of those ‘unobtainium’ originals from the comfort of present-day DAWs but also add more possibilities to the plug-ins themselves, such as muting any STRING (La Palme) or changing the GONG size in real-time (Le Metallique).

    Moreover, in addition to those individually tuneable and mutable strings, La Palme also features global INPUT, DAMP — more string oscillations equal less higher frequencies, DECAY, TRANSPOSE, and TUNE controls; Le Metallique‘s dual-sized GONG can be modulated by an LFO (Low Frequency Oscillator) or MIDI WHEEL and also features INPUT level and frequency DAMP — more gong oscillations equal less high frequencies — controls, together with DECAY and LOW END level controls, plus an LFO that can be synced to the project tempo. The ‘wooden’ BOX central to each plug-in’s operation features further DECAY and DAMP controls.

    And as if that was not enough to be getting on with, XILS-lab has pushed the concept further still by powering its Les Diffuseurs effect plug-in bundle with its True Stereo Dynamic Engine (TSDE), so users can not only position those La Palme and Le Metallique speakers left and right in a true stereo image but also in front to the stereo field or, indeed, farther back — all of which was surely unimaginable way back in 1928!

    Thanks, then, to XILS-lab‘s Les Diffuseurs effect plug-in bundle, anyone can now experience the outlandish sounds of Maurice Martenot’s Métallique and Palme so-called diffuseurs speakers like never before — made match fit for truly 21st Century usage in modern-day music production by being effectively enhanced, in other words. 

    The Les Diffuseurs effect plug-in bundle is available to purchase at a time-limited introductory promo price of only €45.00 EUR until May 15, 2024 — rising thereafter to its regular price of €89.00 EUR, downloadable in 64-bit AAX (native)-, AU-, VST2.4-, and VST3-compatible formats for macOS (10.9+) and 64-bit AAX (native)-, VST2.4-, and VST3-compatible formats for Windows (7/8/10/11) directly from XILS-lab here: https://www.xils-lab.com/products/les-diffuseurs-p-173.html# (Les Diffuseurs is copy-protected by a license serial number, requested when first launched.)

    A time-limited full version of Les Diffuseurs can be requested for pre-purchase evaluation purposes here: https://www.xils-lab.com/products/les-diffuseurs-p-173.html#AskDemo

    Watch two videos demonstrating differing aspects of La Palme — one of two effect plug-ins included in XILS-labs’ Les Diffuseurs bundle — here:

  • Review: MeldaProduction MCenter Enhances Your Stereo Soundscapes

    Review: MeldaProduction MCenter Enhances Your Stereo Soundscapes

    If you need a straightforward, simple, and yet powerful tool for mid/side audio processing, check out MeldaProduction MCenter. The plugin provides audio engineers and self-producing musicians the ability to enhance the stereo soundscape of their mixes. An intuitive user interface with an animated spectrum analyzer enhances its ease of use.

    MeldaProduction MCenter Features

    • Precise Processing of Mono and Stereo Audio Content
    • Simple, Intuitive Interface Belies the Tool’s Power
    • Offers Both Single-Knob and More Advanced Control Options
    • Provides Option for Drawing Frequency Response
    • Combines Spectral and Mid/Side Processing
    • Also Supports Surround Audio Formats
    • Perfect for Mastering and More Creative Use-Cases
    • Supports Most Popular Desktop Plugin Formats
    • Available from MeldaProduction for $52

    The simplicity of this utility plugin belies the true power lurking within its more advanced controls. Still, MCenter ultimately makes it easy to enhance the stereo field of your next mix, while also supporting various surround audio formats. The tool also boasts a whole host of more creative uses. Check out our review for more details and insights.

    MCenter Benefits from an Intuitive User Interface

    MCenter sports an easy to grasp user interface with a design similar to other MeldaProduction plugins. Operating the tool is entirely possible using the CENTER/SIDES and MIDSIDE/SPECTRAL controls located below the preset management toolbar. However, more advanced UI functionality supports a more detailed or creative approach to mid/side processing.

    MCenter User Interface
    MeldaProduction MCenter in action. Image courtesy of MeldaProduction.

    In addition to the two controls mentioned above, the DRY/WET and OUTPUT knobs manage MCenter’s overall effect on the mix. Advanced parameters allow tweaking of the spectrum and time smoothing settings, along with something called “EXTREMIZE.” That latter knob enhances the center of a stereo mix. The detailed MeldaProduction manual for MCenter offers helpful insights on the various applications for the plugin on a music project.

    A toolbar at the right side of MCenter provides additional controls. If desired, MCenter processes either the left, right, middle, or side channels separately. Interesting use-cases for this approach abound, like widening the overall stereo image of the track or even phase correction. The Surround and Ambisonics modes also support 5.1, Atmos, and 3D audio projects. This toolbar also provides control for MCenter’s AGC (automatic gain control) functionality, fast switching between 8 presets, morphing between those presets, Undo/Redo, and more.

    A frequency spectrum graph lies at the bottom of the plugin’s interface. As noted earlier, drawing frequency response curves provides the opportunity to fine tune MCenter’s frequency spectrum if necessary. Needless to say, sonically creative options beyond traditional mid/size processing abound when diving into this functionality.

    MCenter’s ability to vary the amount of mid/size processing by frequency is also helpful. You have the option for modulating this effect based on the audio signal or other modulation sources, providing a useful example of the advanced functionality lurking underneath the covers of this plugin.

    Putting MCenter to Work

    As noted earlier, MCenter provides users with a simple and straightforward approach for mid/side processing using the CENTER/SIDES and MIDSIDE/SPECTRAL controls (along with the DRY/WET and OUTPUT). This pairs with the more detailed control using the frequency spectrum graph and related parameters. However, my first use-case for the plugin only required basic M/S processing functionality.

    For the upcoming Church of Hed album, The Fifth Hour, I produced and mastered two of the tracks completely on an iPad Pro. Planning on adding overdubs in Reaper on the desktop, I cared little about their stereo processing (or lack thereof). After realizing these pieces ultimately needed no overdubs, enhancing the stereo field for both became necessary. Enter MCenter.

    In this scenario, using those four simple knobs allowed the widening and enhancement of the stereo image for both tracks. When combined with the other plugins used in my master buss effects chain (EQ, compression, saturation), these two tracks now squarely fit with the other pieces fully produced on the desktop. MCenter provided the audio processing functionality I needed in an intuitive and easy to use manner.

    To paraphrase rock legends, Midnight Oil, MeldaProduction MCenter provides audio engineers the best of both worlds. You have a simplified, yet powerful approach, not too dissimilar to other mastering plugins providing a knob or two for mid/size processing. Additionally, users have a more advanced option with detailed control of the frequency spectrum influencing the subsequent stereo image.

    The support for Atmos and other surround formats makes MCenter the right choice for engineers working on more immersive projects. Once again, MeldaProduction gives sound engineers and self-producing musicians a mid-side processing plugin worthy of their interest. Check it out today!

  • Boost Your Dynamic Range with Fuse Audio Labs VCE-118

    Boost Your Dynamic Range with Fuse Audio Labs VCE-118

    If you need a versatile music plugin to improve dynamic range in unique ways, check out Fuse Audio Labs VCE-118. This tool effectively serves as a secret weapon, providing your next music production better punch and dynamics. Check out the press release and embedded video below!

    Fuse VCE-118
    Fuse Audio Labs VCE-118 features a warm and accessible user interface.

    Fuse Audio Labs turns to early-Seventies-vintage VCA technology-based breakthroughs to proudly present punchy VCE-118 Dynamic Range Enhancer plugin

    DUESSELDORF, GERMANY: truly analog-sounding plugins developer Fuse Audio Labs proudly presents its VCE-118 Dynamic Range Enhancer plugin as a unique dynamics tool — turning to breakthroughs that took place in the early Seventies with the advent of VCA (Voltage-Controlled Amplifier) technology that cemented the reputation of the vintage device from which it draws its inspiration; indeed, a secret weapon reliant on a distinctive ratio implementation that enabled both compression and expansion, combined with a distinctive linear mode acting as powerful fuel for bending dynamics as a creative effect — as of March 29…

    Duly dominating its familiar-looking ‘vintage’ GUI (Graphical User Interface), VCE-118‘s central knob offers compression ratios ranging between 1:1 and ∞:1 or expansion between 1:1 and 1:2, while the intensity of the effect can be tweaked with the THRESHOLD control. An all- important ‘mode’ button switches between regular gain reduction or expansion, whereby only ABOVE THRESHOLD levels are processed, to LINEAR operation, affecting the full level above and below the threshold.

    Helpfully, VCE-118 provides the ultimate punchy compression known from early VCA compressor flagships like the famous ‘160, but does not simply stop there since its expanded dynamic range surprises with intriguing effects reminiscent of gates and transient shapers. Indeed, its LINEAR operation can take this even further, venturing, for instance, into the sonic realms of heavily pumping beats or dead silent ambience.

    “VCE-118 is nothing short of a giant in disguise; it can slam your drums into oblivion while within a second it can become a great punch enhancer — if used sparingly in parallel.” So suggests Fuse Audio Labs CEO Reimund Dratwa, drawing to a close with, “LINEAR mode is such an advantage when you’re hunting for unusual, extreme dynamic effects, applicable in various amounts with the all-important MIX knob.” 

    VCE-118 is available at an attractive 50%-discounted introductory promo price of only $29.00 USD until April 29, 2024 — rising thereafter to its regular price of $59.00 USD — directly from its dedicated webpage, which includes more in-depth information, here: https://fuseaudiolabs.com/vce118.html

    Note that 14-day trial versions of all Fuse Audio Labs plugins without any restrictions are also available to download for free from here:https://fuseaudiolabs.com/plugins.html

    Get a feel for VCE-118 while watching Fuse Audio Labs’ informative introductory video here:

  • United Plugins Dropkick Transforms Your Low-End

    United Plugins Dropkick Transforms Your Low-End

    Need to give your kick drums a bit of an edge? If so, check out Dropkick, a fresh plugin from the folks at United Plugins. Crafted by one of United’s founding members, JMG Sound, it provides music producers with the means to supercharge the low-end on their projects.

    Dropkick
    Dropkick in action. Image copyright United Plugins.

    If this audio plugin intrigues you, check out the following press release:

    PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce availability of Dropkick from founding partner JMG Sound — suitably billed as the ultimate solution for transforming kick drums into powerful, focused, and impeccably controlled sonic masterpieces thanks to eight processors that have been extensively tested and fine-tuned to work with kicks and make them stand out from the sound of the plug-in crowd, or, indeed, any crowd — as of January 23… 

    Alive and kicking 

    Ultimately, United Plugins founding partner JMG Sound developed Dropkick for sound designers and electronic-based music producers alike; as such, it has been extensively tested and fine-tuned to work well across multiple genres, including drum ‘n’ bass, EDM (Electronic Dance Music), house, techno, trap, and more. Moreover, with so much having been packed into a single plug-in, Dropkick really represents the ultimate electronic kick drum toolkit! The eight processors involved in doing that all have much more going on under their respective hoods than might first meet the eye; each of them could well have been a one-knob plug-in in their own right, in fact, but JMG Sound‘s selflessness shines through for all to see and hear by including them all in one place for anyone to use as they see fit. 

    Set PHASE(rs) for stun(ning) and factor in WARP 

    With PHASE, for example, it is possible to offset the lower FREQ (frequencies) to shape the character of the transient and lower the peak level — not necessarily a new concept, yet one which Dropkick takes up a notch by using analogue-modelled filters to create non-linearities that make for extremely smooth transitions and also add a little extra warmth. WARP progressively shifts the frequencies in time; the lower the frequency, the more it is delayed — low values concentrating the phase shift closer to the attack, shaping the character of the transient, while high values extend the low frequencies, changing the character of the entire kick. Fortunately for all concerned, the filters involved here have been fine-tuned to work well on kick drums so users will arrive at their desired sweet spot far faster, which is also the case when working with Dropkick‘s other processors. 

    Feel the POWER and control the RESO(onant) peak 

    Dropkick duly puts POWER in the hands of its users by taking the tried-and-tested technique of using a high-pass filter to enhance the low end — setting the frequency of the filter at the fundamental and adding a little resonance not only boosts the bass but also removes unwanted sub-harmonics — to another level as its surgical peak can resonate a single frequency, making it possible to strengthen and extend the fundamental; RESO, meanwhile, controls the level of the resonant peak, the special peak filter used being extremely narrow so as to focus on a single frequency and not necessarily boost neighbouring frequencies but rather add power and definition to the fundamental while extending it as the control is increased — an effect so powerful that it can even be used to re-pitch the fundamental of the kick, completely transforming the character! 

    Get the balance right 

    Controlling kicks and enhancing them comes quickly to Dropkick users, thanks to the creative possibilities offered by several straightforward settings: CLEAN — dynamically removes boxiness and muddiness, freeing up precious headroom and helping the kick to translate better in the mix; DAMP — progressively removes higher frequencies while still allowing the transient to cut through, letting users reshape the frequency content of their kicks; FIRE — uses psychoacoustic techniques to enhance the sound of the kick; OVER — a dynamics processor based on an ‘over the top’ compression technique that has been fine-tuned for kicks; SNAP — enhances the attack and punch of the kick using an advanced transient processor that dynamically shapes the attack stage based on frequency content, fine-tuned for kicks; and TRIM — shortens the length of the kick tail to keep it tight and prevent boominess… simply listen in real time and adjust a single knob until achieving the perfect balance! 

    Take it to the limit 

    Last, but by no means least, a LIMIT section selects whether or not the three-mode limiter will be enabled: CLEAN limits the peaks as transparently as possible, introducing only 1ms of latency; WARM behaves like a soft clipper with some gentle distortion; and HOT heavily distorts the signal while hard clipping. And a DRIVE control adds up to 12dB of additional gain to drive the limiter; this can be used to create extra loudness, or — if one of the limiter’s distortion modes is selected — overdrive it to get super-fat- and aggressive-sounding kicks. 

    Key features: 

    • Ultimate electronic kick drum toolkit that transforms kick drums into powerful, focused, and impeccably controlled sonic masterpieces 
    • Eight processors tested and fine-tuned to work well across multiple genres, allowing users to arrive at their desired sweet spot far faster than when working with separate plug-ins

    JMG Sound’s Dropkick is available to purchase for a time-limited introductory promo price of only €19.00 EUR until February 29, 2024 — rising thereafter to its regular price of €69.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from its dedicated webpage (https://unitedplugins.com/Dropkick/), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10/11 can also be downloaded for free. 

    Note that no iLok, dongle, or internet access is required for Dropkick activation. (All United Plugins software uses license files for activation and owners can freely use purchased software — with free-for-life updates — on all their computers for as long as they are the user.)

    See and hear Dropkick in action while watching United Plugins’ illuminating introductory video here: 

  • Review: Eventide UltraTap – a Versatile and Esoteric Delay Plugin

    Review: Eventide UltraTap – a Versatile and Esoteric Delay Plugin

    “Eventide Delay. Digital Delay.” – Jon Anderson, Olympia

    Yeah, I know I used that Jon Anderson quote the last time we reviewed an Eventide product. Jon – bless the wee elf – permanently connected those synapses in my brain years ago, so expect to see the same quote again in the future.

    UltraTap is a versatile plugin capable of everything from freaky rhythmic delays to reverberated volume swells. It’s easy to use, with an intuitive interface and great sound. If you need a multi-tap delay in your studio setup, this is a plugin that belongs on your shortlist.

    Eventide UltraTap Features 

    • Cool Tempo Synced Delays and Volume Swells
    • Intuitive User Interface
    • Excellent Sound Quality
    • Ribbon Control for Real-Time Effect Morphing
    • Loads of Tweakable Presets
    • Available in Most Popular Plugin Formats
    • Street Price of $79

    A Straightforward Delay Plugin Interface

    Expect UltraTap’s easy to navigate interface to play well within your DAW of choice. A menu bar at the top serves to handle preset management as well as a few other useful functions, like Compare and Mix Lock. The latter helps maintain a static mix level when paired with other effects on an effect return track.

    ultratap screen shot
    Eventide UltraTap in action. Photo by author.

    The main interface itself sports a host of virtual knobs familiar to anyone who’s used a multi-tap delay effect. There are also two sliders on either side of the plugin to control the input and output signal levels. The Mix, Length, Taps, Tone, and Pre-Delay knobs all perform as expected.

    The Width knob is useful when using UltraTap as a stereo effect. Spread and Taper work together to build interesting rhythmic delays. Taper behaves in a similar manner as the Feedback parameter found on other delay effects.

    UltraTap’s true freak gets applied using the Slurm knob. From the manual: “Slurm combines slowly varying (random) multi-voice detuning (micro-pitching) modulation AND smearing/slurring via a very small-reverb-like diffusion. The end effect is that the taps get increasingly smeared (lose their attacks and definition) and more chorused as Slurm increases.” Obviously, Slurm tweaking lends itself to real-time experimentation.

    Chop serves as a tremolo, gate, or volume swell effect depending on its setting; the neighboring Chop Speed knob becoming active based on the value of Chop. Many cool LFO modulation effects are possible. Tempo and the ribbon controller (see below) also come into play, so experiment at will to generate interesting results.

    Use the Tempo Sync slider to sync UltraTap to tempo in either a manual or automatic fashion; the latter setting uses the DAW’s tempo. The Tap button sets the tempo manually when Tempo Sync is turned off.

    UltraTap also features a cool ribbon controller which lets you morph between two different effect settings by dragging a slider along the ribbon. The Hotswitch button works in the same manner, but gets toggled instantaneously, instead of based on the ribbon position.

    UltraTap rewards Experimentation

    While Eventide’s Fission plugin focuses more on useful utility functions, UltraTap is simply a fun for sonic experimentation. I spent an evening creating interesting polyrhythmic effects while beatmaking. The effect is capable of cool volume swell effects as well.

    Check out the host of factory preset effects to get an idea of what UltraTap can do, but it is also easy to build your own presets from scratch. Eventide’s effects pedal interface style adds to its intuitiveness. The sound quality is also top notch.

    If you love delay effects, UltraTap belongs in your plugin library. At a street price of $79, it’s an easy recommendation.


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  • Moog’s Subsequent 37 refines the Original Sub 37 Design – Synth News 7

    Moog’s Subsequent 37 refines the Original Sub 37 Design – Synth News 7

    Moog recently announced another upgrade to its already venerable Sub 37 synthesizer. We previously covered the Subsequent 37 CV, and now the Subsequent 37 (with no “CV”) has hit the market. I actually missed the CV tag the last time around. Sorry, it’s now fixed! By the way, I still think Sub 37 CV – Silver Machine Edition sounds cooler!

    The CV-less Subsequent 37 improves upon the original Sub 37 in a myriad of ways. Most notable is arguably the boosted headroom in the mixer section. The ladder filter and its multidrive circuit have also been redesigned, with a richer low-end and grittier sound as a result. Moog also upgraded the keybed. So there.

    Essentially, these are the same improvements found in the Subsequent 37 CV, minus the extra CV I/O. The street price for the Subsequent 37 is the same as the Sub 37 – around $1499.  Git ya one! I’m sticking with my still-loved Sub 37.

    Roland goes Boutique with the D-50

    Roland has been going gangbusters introducing new models in its Boutique series. We’ve talked about the TR-08 and SE-02 in previous posts. This time out Roland trains its eyes towards the late 80s and digital synthesizers with the D-05, a Boutique version of its classic late 80s synth, the D-50.

    roland_d-05
    The Roland D-05 emulation of their classic D-50 synth. Photo copyright Roland.

    Instead of the Analog Circuit Behavior design concepts used in other Boutique Series editions, for the D-05 Roland introduced something called Digital Circuit Behavior. Needless to say, they shouldn’t have any problem digitally emulating late 80s digital “linear arithmetic synthesis” technology. The street price for the D-05 is $349.

    Though I have taken a shining to the SE-02, the D-05 doesn’t inspire much gear lust.  I never had much interest in the original D-50, opting instead for the warm sounds of the Kawai K4, which still gets used now and again on my current musical projects. If your ears are more attuned to Roland’s classic late 80s digital synth sounds, the D-05 is likely right up your alley.

    Brainworx bx_console E adds Vintage British E Series Console Plugin

    Recently celebrating its 10th anniversary, Brainworx recently introduced a plugin sure to interest anyone looking to emulate those classic mixing consoles from the days of yore. The bx_console E is available through those kind and ubiquitous folks at the Plugin Alliance. It offers a full 72 channel emulation of the British SSL E Series mixing console, but goes beyond that with features from the G series as well.

    Each channel strip contains a compressor/limiter, expander/gate, 4-band parametric EQ, as well as high pass and low pass filters. Flexible routing within each channel is also possible, including sidechain processing. If you have any interest in creating dynamic, classic mixes, the bx_console E belongs in your plugin collection. Expect a street price around $299.

    Unfiltered Audio release Dent 2 and Indent 2 Effects Emulations

    The Plugin Alliance’s colleagues remain busy, including the folks at Unfiltered Audio. If you need to add some grit and grunge to your audio processing arsenal, check out the Dent 2 and Indent 2 plugins.

    Dent 2 allows you to distort waveforms at a “molecular” level; bitcrushers, clippers, and wavefolders abound, along with other useful and interesting features. Indent 2 offers a streamlined level of functionality compared to its big brother. Dent 2 is available for $99 and Indent 2 for $49, but if you buy Dent 2 you get a free license for Indent 2. Whoa!

    fielder audio join the Plugin Alliance with “stage”

    A newcomer to the Plugin Alliance family, fielder audio’s first release is “stage.” A plugin focused on psychoacoustic reverb algorithms for both tracking and mixing, stage looks to be an essential tool for musicians and audio engineers. Additional functionality includes unique panning algorithms, as well as an LFO for outer rim spatial modulation effects.

    The intuitive user interface offers real-time visual feedback on parameter settings. You can pick up stage from the Plugin Alliance for $179.


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