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Plug-Ins and Standalone tools for all of you mixing and sound design needs
The ML4000 is two plug-ins:
• ML1 – mastering limiter
• ML4 – multi-band Gate, Expander, and Compressor fed into the ML1 mastering limiter
The ML1 mastering limiter uses a flexible brick wall look-ahead design coupled with multiple stages of limiting for superior peak detection. The unique Knee and Mode controls allow the ML1 to handle any kind of material with a variety of responses ranging from transparent to aggressive.
The ML4 multi-band dynamics processor includes a 4-band Gate, Expander (upwards or downwards), and Compressor fed into the same limiter algorithm found in the ML1. Each band’s Gate, Expander, and Compressor can be configured separately or linked together. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent bands. Multiple real-time metering options in each band allow quick visualization of all signal dynamics.
The ML4 crossover page shows the overall frequency response in real-time of the input, output, or total dynamics effect, on top of the graphically adjustable crossover frequencies.
Accurate output adjustment is fast and simple with output ceiling control, large meters, and meter level text readouts.
The ML4000 provides outstanding results with an intuitive user interface, flexible design, and powerful set of algorithms.
Features
• Brick wall look-ahead limiter
• Multi-stage peak detection and limiting
• Unique limiter Knee and Mode controls
• Multi-band Gate, Expander (up/down), Compressor
• Simultaneous display of Gate, Expander, and Compressor dynamic curves in every band
• Multiple real-time metering options
• Adjustable crossover filters
• Multi-band control linking
• Analog Saturation Modeling
• Double Precision Processing
• Low Latency
Formats
• HD v6: AAX DSP/Native, AU, VST
The ML4000 is two plug-ins:
• ML1 – mastering limiter
• ML4 – multi-band Gate, Expander, and Compressor fed into the ML1 mastering limiter
The ML1 mastering limiter uses a flexible brick wall look-ahead design coupled with multiple stages of limiting for superior peak detection. The unique Knee and Mode controls allow the ML1 to handle any kind of material with a variety of responses ranging from transparent to aggressive.
The ML4 multi-band dynamics processor includes a 4-band Gate, Expander (upwards or downwards), and Compressor fed into the same limiter algorithm found in the ML1. Each band’s Gate, Expander, and Compressor can be configured separately or linked together. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent bands. Multiple real-time metering options in each band allow quick visualization of all signal dynamics.
The ML4 crossover page shows the overall frequency response in real-time of the input, output, or total dynamics effect, on top of the graphically adjustable crossover frequencies.
Accurate output adjustment is fast and simple with output ceiling control, large meters, and meter level text readouts.
The ML4000 provides outstanding results with an intuitive user interface, flexible design, and powerful set of algorithms.
Features
• Brick wall look-ahead limiter
• Multi-stage peak detection and limiting
• Unique limiter Knee and Mode controls
• Multi-band Gate, Expander (up/down), Compressor
• Simultaneous display of Gate, Expander, and Compressor dynamic curves in every band
• Multiple real-time metering options
• Adjustable crossover filters
• Multi-band control linking
• Analog Saturation Modeling
• Double Precision Processing
• Low Latency
Formats
• Native v6: AAX Native, AU, VST
The ML8000 Advanced Limiter is the next generation of limiter technology, using two completely separate stages of processing for significantly improved peak level adjustment.
The first stage of the ML8000, the Multi-band Limiter, uses 8 bands of active processing for superior phase response over traditional cross-over based processing. Each band has its own gain and threshold (output ceiling) control. Additional overall band controls include release time and limiter modes, calibrated similarly to the modes of the original highly acclaimed McDSP ML4000 limiter. An additional focus mode provides subtle articulation changes in how each band tracks and limits the incoming signal.
The second stage of the ML8000, the Master Limiter, is a precise recreation of the patented ML4000 limiter algorithm, right down to the limiter modes. The Master Limiter also includes filter design enhancements to further reduce peak distortion.
The ML8000 8-bands of processing are easily controlled from the response plot, large gain faders beneath, and convenient threshold markers aligned to each band’s input meter. Text readouts can be adjusted from the keyboard, or controlled with mouse movement. Any number of bands can be linked to another band, and each band can be solo’ed or have its key input monitored.
Visual feedback, multiple metering sources, and an intuitive user interface make the ML8000 an easy choice for the audio professional.
Features
• Brick wall look-ahead limiter
• Multi-stage and multi-band peak detection and limiting
• Unique limiter Knee, Mode, and Focus controls
• Snap function instantly sets multi-band thresholds to signal levels
• Double precision processing
• Low latency
• Mono and stereo versions
Formats
• HD v6: AAX DSP/Native, AU, VST
The ML8000 Advanced Limiter is the next generation of limiter technology, using two completely separate stages of processing for significantly improved peak level adjustment.
The first stage of the ML8000, the Multi-band Limiter, uses 8 bands of active processing for superior phase response over traditional cross-over based processing. Each band has its own gain and threshold (output ceiling) control. Additional overall band controls include release time and limiter modes, calibrated similarly to the modes of the original highly acclaimed McDSP ML4000 limiter. An additional focus mode provides subtle articulation changes in how each band tracks and limits the incoming signal.
The second stage of the ML8000, the Master Limiter, is a precise recreation of the patented ML4000 limiter algorithm, right down to the limiter modes. The Master Limiter also includes filter design enhancements to further reduce peak distortion.
The ML8000 8-bands of processing are easily controlled from the response plot, large gain faders beneath, and convenient threshold markers aligned to each band’s input meter. Text readouts can be adjusted from the keyboard, or controlled with mouse movement. Any number of bands can be linked to another band, and each band can be solo’ed or have its key input monitored.
Visual feedback, multiple metering sources, and an intuitive user interface make the ML8000 an easy choice for the audio professional.
Features
• Brick wall look-ahead limiter
• Multi-stage and multi-band peak detection and limiting
• Unique limiter Knee, Mode, and Focus controls
• Snap function instantly sets multi-band thresholds to signal levels
• Double precision processing
• Low latency
• Mono and stereo versions
Formats
• Native v6: AAX Native, AU, VST
Motion Texures is a broad library with a narrow purpose: to draw sonic lines and create gently moving sonic textures.
The concept is that consistent sound of friction will translate well to visual design elements that have CG and text movement on screen.
We recorded the friction sounds of dozens of small to medium sized props in constant motion. Major categories include metal, plastic, cloth, wood and skin. Some of the most interesting sounds came from the props that had small cavities such as the spray can lid and the water bottle. The constant changing of the cavity state relative to the mics creates strange vocal sounds.
Once the sounds were recorded we employed a proprietary smoothing process as a second pass to the sounds and provided them in addition to the original textures. These smoothed out sounds still have the organic quality of the original recordings, but with far fewer transient events. The end result are sounds that feel straighter than the more circular sounding original textures.
Inside of the Kontakt instruments we stacked layers and effects to create a broad base of deep and interesting textures. Many of the Kontakt presets mangle the sounds far beyond recognition of the original recordings.
The NF575 Noise Filter is a high resolution filter set designed to remove a wide variety of noise types from audio.
Accurate high pass and low pass filters reduce low frequency rumble and high frequency hiss. Selectable slopes of 6, 12, 18, 24, 30 and 36 dB/Oct and frequency control range covering the entire audible spectrum make the NF575 filters extremely flexible.
Advanced notch filters allow the user to select the amount of signal cut, cut frequency, and width (Q). All five NF575 notch filters can be linked harmonically to address common cyclical noise problems such as 60 Hz hum.
Features
• High Pass Filtering (HPF) with slopes up to 36 dB/Oct
• Low Pass Filtering (LPF) with slopes up to 36 dB/Oct
• Five bands of notch filtering with linkable frequency control
• Analog Saturation Modeling
• Double Precision Processing
• Ultra Low Latency
• Mono and Stereo versions
Formats
• HD v6: AAX DSP/Native, AU, VST
The NF575 Noise Filter is a high resolution filter set designed to remove a wide variety of noise types from audio.
Accurate high pass and low pass filters reduce low frequency rumble and high frequency hiss. Selectable slopes of 6, 12, 18, 24, 30 and 36 dB/Oct and frequency control range covering the entire audible spectrum make the NF575 filters extremely flexible.
Advanced notch filters allow the user to select the amount of signal cut, cut frequency, and width (Q). All five NF575 notch filters can be linked harmonically to address common cyclical noise problems such as 60 Hz hum.
Features
• High Pass Filtering (HPF) with slopes up to 36 dB/Oct
• Low Pass Filtering (LPF) with slopes up to 36 dB/Oct
• Five bands of notch filtering with linkable frequency control
• Analog Saturation Modeling
• Double Precision Processing
• Ultra Low Latency
• Mono and Stereo versions
Formats
• Native v6: AAX Native, AU, VST
The NR800 is a real-time noise reduction processor, useful for music production, post production, and live sound.
The NR800 operates with no internal latency, and does not contaminate the original source material with artifacts such as those found by noise reduction plug-ins that utilize transform-based processing.
The NR800 operates on mostly broad band frequencies, but can also be focused in a narrow portion of the frequency spectrum using noise reduction focus points. A set of input filters and be configured with slopes up to 36 dB/Oct, and can be set at frequencies independent of noise reduction focus points.
Several noise reduction modes can be selected from the NR Mode control to provide a range of smooth to aggressive noise reduction amounts. A Range control can be used to scale the overall noise reduction from 100% to 0% (off). An ‘x2’ mode will also double the noise reduction amounts in all bands, when less finely tuned adjustment is needed, or when noise problems are severe. The Response time controls how fast the noise reduction recovers from a ‘noise event’. An NR Bias selector allows different noise reduction amounts to be activated when ‘snapping’ the noise reduction gain and thresholds to the input signal.
Each of the 8 bands in the NR800 has a noise reduction amount fader and noise detection threshold marker, and the usual McDSP linking control capabilities from a master (M) and linked (L) control button paradigm. Each band may also be individually bypassed or soloed to audition incoming noise amounts.
Features
• HPF and LPF pre-filtering
• Eight bands of focusable noise reduction
• Noise reduction mode and bias options
• Overall noise reduction range and response control
• McDSP Emmy Award winning engineering
Formats
• HD v6: AAX DSP/Native, AU, VST
The NR800 is a real-time noise reduction processor, useful for music production, post production, and live sound.
The NR800 operates with no internal latency, and does not contaminate the original source material with artifacts such as those found by noise reduction plug-ins that utilize transform-based processing.
The NR800 operates on mostly broad band frequencies, but can also be focused in a narrow portion of the frequency spectrum using noise reduction focus points. A set of input filters and be configured with slopes up to 36 dB/Oct, and can be set at frequencies independent of noise reduction focus points.
Several noise reduction modes can be selected from the NR Mode control to provide a range of smooth to aggressive noise reduction amounts. A Range control can be used to scale the overall noise reduction from 100% to 0% (off). An ‘x2’ mode will also double the noise reduction amounts in all bands, when less finely tuned adjustment is needed, or when noise problems are severe. The Response time controls how fast the noise reduction recovers from a ‘noise event’. An NR Bias selector allows different noise reduction amounts to be activated when ‘snapping’ the noise reduction gain and thresholds to the input signal.
Each of the 8 bands in the NR800 has a noise reduction amount fader and noise detection threshold marker, and the usual McDSP linking control capabilities from a master (M) and linked (L) control button paradigm. Each band may also be individually bypassed or soloed to audition incoming noise amounts.
Features
• HPF and LPF pre-filtering
• Eight bands of focusable noise reduction
• Noise reduction mode and bias options
• Overall noise reduction range and response control
• McDSP Emmy Award winning engineering
Formats
• Native v6: AAX Native, AU, VST
3 mic perspectives give full coverage on an antique typewriter in good working condition. The typewriter had a loose front plate and we clacked, hit and dropped it for a wide range of cool typewritery sounds. The Kontakt instrument presets requires the full version of NI Kontakt 4.2.3 or later.
FabFilter has put tremendous effort in creating the best cut-off filter ever. Their new design approach has resulted in the fattest and smoothest self-oscillating digital filter you have ever heard. It has been tuned carefully to achieve the character and warmth of a classic analog synthesizer. FabFilter One’s filter sounds raw but never cheap or ‘digital’, even at full resonance.
The filter is fed by an equally high-quality solid-sounding oscillator, developed from scratch to be completely aliasing-free. It features sawtooth, triangle, and square wave forms with pulse width modulation.
The oscillator and the filter can be modulated by the LFO and the EG. The LFO offers triangle and square wave forms, with adjustable wave balance so any wave form between sawtooth and triangle can be selected. The tempo can be synchronized to the host. The EG has the usual ADSR knobs, but with a perfectly fine-tuned feel. Also, it has an additional Hold setting that extends the time keys are held down.
What FabFilter One excels at is the attention to detail and fine-tuning that is visible throughout the plug-in. For example, the portamento feature doesn’t just slide from one note to another, but uses a carefully selected algorithm to make your playing livelier and give it just that little extra bit of magic.
Smart Parameter Interpolation handles changes to any of FabFilter One’s parameters, ensuring both responsiveness and smooth transitions. There are no annoying digital clicks and zipper effects, and even MIDI controller changes are handled perfectly smooth.
Naturally, the FabFilter One plug-in handles all parameter changes at sample accuracy and it can be used with arbitrary sample rates. All parameters are fully automatable within your favorite host and via MIDI Learn. The included help file describes all features of FabFilter One in detail, together with overviews and tutorials to create various types of sounds.
Features
Have you ever dreamt of attacking a piano with a metal mallet? Dream no more! This library is available in two versions, a discounted bundle, and also in the further discounted “2017 InspectorJ Bundle” for 50% off!
The sounds have been mapped to Kontakt 5 patches for quicker playing (requires the full version of Kontakt 5), but the raw files are also included. The five different samplers offer you a wide variety of durations:
• Damped instantly (84 sounds; five octaves)
• Damped after 1 second (97 sounds; seven octaves)
• Damped after 2 seconds (97 sounds; seven octaves)
• Damped after 5 seconds (88 sounds; six octaves)
• Sustained fully (97 sounds; seven octaves)
The “Cedar” library series is a collection of libraries, comprised of three different instruments:
– Ponticello (the present one)
– Sul Tasto
– Bizzarro
Each volume is a single Kontakt instrument with a peculiar timbral personality. The entire series is created recording sounds from a luthier classical guitar. They can be used for composing and producing purposes – like an acoustic percussion setup – as well as for soundtrack composition and sound design in films, video games and any other multimedia product. “Ponticello” and “Sul Tasto” also feature a dedicated effects page that can be used to process the sounds in the library with several processors, both send and insert effects. They are “percussion oriented” sounds, while “Bizzarro” is a keyboard instrument.
Introduction to “Ponticello”
The instrument contains 10 sets of sounds, called “Engines”. Each set has a dedicated channel strip in the interface and can be processed with a dedicated sub-page. You can also choose an individual audio output for further processing in your favorite DAW with effect plugins of your choice. Each sound has been recorded with two different mic placements, and you can mix them to your taste.
Loudness Batch Processing
ppmBatch allows you to analyze and normalize your audio files according to various broadcasting loudness standards. It batch processes files in multiple real time and provides intuitive user feedback about each file’s compliance status and processing progress. Measurement results are displayed in a clearly arranged, customizable user interface.
ppmBatch comes with presets for the most common broadcasting standards. It enables you to modify these presets and to setup your own profiles. You can create summary report files for a selection of audio files, as well as more detailed reports for each individual file.
ppmBatch is the perfect tool for post production, archive converting and automatic normalizing of every-day broadcast reports.
Key Features
• fast scan & normalize of multiple files
• support for multi-channel and multi-mono files
• default loudness presets for EBU R 128, ATSC A/85, ITU-R BS.1770, ARIB TR-B32, FreeTV OP-59
• drag and drop
• support for broadcast wav audio
• single and overall status reports
Technical Specifications
• supported input formats: wav, aif, mp3, ogg, wma, flac
• Min. system CPU: 2GHz
• OSX min. 10.8, Windows min. 7
• AAX native, AU, Mac, VST, Win
Professional Peak and Loudness Metering
PPMulatorXL is a cross-platform plug-in meter for digital audio workstations which exactly mimics the look and feel of a professional broadcast Peak Programme Meter (PPM). PPMulatorXL has also included a EBU R.128 compliant loudness metering and a amazingly fast offline metering for audio files in standalone mode.
By adding this plugin to the master output of your audio editing program, you can record, edit, mix and export your audio within a precisely-calibrated workspace – something which is often impossible to do when working in a non-studio environment.
PPMulatorXL is designed to closely-follow the ballistics of mono, stereo, mid-side (MS) and surround (5.1) PPM meters (conforming to IEC 268-10/DIN 45406) and has a number of built-in additional features, including various display style options and a highly-useful Peak Logging process which logs all peaks/overloads against the time code in the host application where they occurred.
Key Features:
• Customizable and resizable layouts and channel labeling
• Audio file batch processing (PPMulatorXL only)
• Automated peak logging with export
• Mono gain trim to M3 (-3dB) or M6 (-6dB) standards
• Phase correlation meter & Goniometer
• Reference tone generator for meter alignment and calibration
• Multi-channel support up to six channels
Supported Standards:
• IEC 268-10 Type I: Nordic N9
• IEC 268-10 Type I: DIN 45406
• IEC 268-10 Type IIa: BBC scale
• IEC 268-10 Type IIb: EBU scale
• ITU-R BS.1770-2: True Peak Meter
• EBU R128 (2011): Loudness Meter (PPMulatorXL only)
Technical Specifications:
• Audio format: Mono/ Stereo/ Mid-Side/ 5.1, 32-192kHz sample rate
• Min. system CPU: 1GHz
• OS: Mac OS min 10.6
• Windows min. XP
• Host: Pro Tools >= V9
• Plugin format: RTAS, AAX, AU, VST + Standalone application
Peak & Loudness Metering Plug-in
PPMulator is a cross-platform plug-in meter for digital audio workstations which exactly mimics the look and feel of a professional broadcast Peak Programme Meter (PPM). This plugin provides a precisely calibrated workspace for recording, editing, mixing and mastering.
The plug-in is available in two versions: PPMulator+ and PPMulatorXL; the latter offers additional features such as EBU R128 loudness metering and batch audio file processing.
Key Features
• Customizable and resizable layouts and channel labeling
• Automated peak logging with export
• Mono gain trim to M3 (-3dB) or M6 (-6dB) standards
• Phase correlation meter & Goniometer
• Reference tone generator for meter alignment and calibration
• Multi-channel support up to six channels
Supported Standards:
• IEC 268-10 Type I: Nordic N9
• IEC 268-10 Type I: DIN 45406
• IEC 268-10 Type IIa: BBC scale
• IEC 268-10 Type IIb: EBU scale
• ITU-R BS.1770-2: True Peak Meter
Technical Specifications
• Audio format: Mono/ Stereo/ Mid-Side/ 5.1, 32-192kHz sample rate
• Min. system CPU: 1GHz
• OS: Mac OS min 10.6
• Windows min. XP
• Host: Pro Tools >= V9
• Plugin format: RTAS, AAX, AU, VST + Standalone application
FabFilter Pro-C 2 is a high-quality compressor plug-in for the most demanding engineers. Whether you need subtle mastering compression, an upfront lead vocal, that magic drum glue or deep EDM pumping: Pro-C 2 gets the job done with style!
Pro-C 2 offers eight different, program-dependent compression styles with beautiful sound and character. But there’s more! Apart from the classic compressor controls, you also get smooth lookahead, up to 4x oversampling, intelligent auto-gain and auto-release, a variable knee, hold, range, external side-chain triggering, variable stereo linking and mid/side processing, all packed in a beautiful Retina user interface.
Even when using the best mics, pre-amps and converters, sibilance in vocal recordings can easily get over-accentuated during post-processing like compression or saturation. But don’t worry, FabFilter Pro-DS comes to the rescue!
With its highly intelligent ‘Single Vocal’ detection algorithm, FabFilter Pro-DS accurately identifies sibilance in vocal recordings and attenuates it transparently.
When using the ‘Allround’ mode, Pro-DS becomes a great tool for high-frequency limiting of any material, like drums or even full mixes. Try it out yourself!
FabFilter Pro-DS offers everything you need to get the best result possible, presented in a simple and easy-to-use interface. Wide band or linear-phase split band processing, an optional look-ahead of up to 15 ms, adjustable stereo linking with optional mid-only or side-only processing, up to four times linear-phase oversampling… it’s all there.
A good gate/expander is an indispensable tool in any mixing or live situation. FabFilter Pro-G offers everything you could wish for: perfectly tuned algorithms, complete control over the side chain and channel linking, excellent metering and great interface design.
Apart from excellent sound, FabFilter Pro-G also provides very flexible routing. You can choose between mono, stereo or mid/side processing and in expert mode, external side chain input is available with completely customizable channel linking and routing.
Pro L2 is a major update to the Pro-L limiter plug-in. With four brand-new limiting algorithms, “Modern” for general all-purpose limiting , “aggressive” for EDM and rock music, “Bus” specific for drums and individual track limiting and “Safe” which avoids distortion at all costs. Also newly added is the true peak limiting mode which makes it extremely easy to hit a maximum true peak target. Combined with improved true peak metering and extensive loudness metering that’s compliant with the EBU R128, ITU-R BS.1770-4, and ATSC A/85 standards.
Complete support for surround audio with flexible channel linking makes Pro-L 2 much more versatile in multi-channel scenarios, while the sound quality is even higher than before with up to 32x linear phase oversampling. New features like a DC offset filter, external side chain triggering for stem mastering, and a Unity Gain option ensure that Pro-L 2 is the solution to any mastering challenge.
The unique real-time level display is now even more effective with new innovative display modes, including an Infinite mode that shows all audio for an entire session. Moments of significant gain reduction are highlighted with peak labels to give additional insight in the limiting process. The interface has been carefully redesigned to be aesthetically pleasing with a perfectly optimized workflow.
Multiband compression and expansion are powerful tools, but notoriously difficult to set up and control. Enter FabFilter Pro-MB: making multiband dynamics processing intuitive yet powerful at the same time.
FabFilter Pro-MB introduces a unique Dynamic Phase processing mode. It has virtually the same frequency response as traditional multiband processing, but doesn’t introduce latency or pre-ringing, and only introduces minor phase changes when the gain actually changes. Of course, we have also included an excellent Linear Phase mode and a traditional Minimum Phase mode.
The powerful combination of high quality processing, optimized workflow using the interactive multiband display and all the expert features you need, makes Pro-MB both a lifesaver and timesaver!
An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.
Mixing and mastering features
Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.
Effortlessly sculpt your sound
FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!
FabFilter goodies
Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.
Pro-R 2 brings a raft of new next-gen features to what was already a widely respected reverb plug-in, including comprehensive multichannel compatibility, two brand-new reverb algorithms, IR import and replication, ducking and gating functions, analog-style saturation, and much more. It is a huge technological and functional leap forward for the plug-in, and one made without any compromise to the slick workflow and stellar sound quality that Pro-R users already know and love.
Full immersive audio support
Place reverbs in three-dimensional space with support for immersive channel layouts up to 9.1.6 Dolby Atmos. Pro-R 2 configures itself for multichannel formats automatically whenever it is added to a surround channel, and individual Decay Rate and Post EQ bands can be applied to any combination of channels using the new Speakers panel. Meanwhile, the new Surround Settings panel provides straightforward controls for balancing the relative levels of every reverb parameter — Predelay, Character, Decay Rate, etc — between the front and back of the immersive space. A massive amount of work has gone into the implementation of surround cross feeding, delivering an exceptionally convincing sense of space; and with its intuitive approach and liberating flexibility, ProR 2 yields spectacular results without letting complicated channel routing get in the way of creativity.
All-new Vintage and Plate reverb Styles
Expanding on the clean, natural sound of Pro-R, Pro-R 2 introduces two new reverb algorithms that bring a diversity of retro flavors to mixes. ‘Vintage’ is inspired by classic digital reverb units of the ’80s and ’90s, and is the go-to for long, bright hyper-real spatial ambiences, while ‘Plate’ serves up the evocative metallic sound of plate reverb — ideal for drums and vocals. Together, the two new styles broaden Pro-R 2’s spatializing remit out from the realistic physical environments for which its predecessor was known into more overtly synthetic textural territory.
Impulse response (IR) import
As if tripling the number of reverb styles on offer was not enough, Pro-R 2 also adds the ability to import impulse responses and have them automatically recreated as algorithmic setups — including Decay Rate and Post EQ shaping — that closely match their sonic characteristics. Whether wanting to binge on the vast array of free impulse responses available online, or capture and emulate favorite vocal booth, drum room, or hardware reverb in Pro-R 2, IR import opens up a whole new world of possibilities.
Extended reverb parameters and controls
Pro-R 2 provides even more tools with which to design dream reverbs. Set the wet signal level to drop whenever the dry signal is present with the Ducking control; dial in density and saturation with the Thickness knob; get your Phil Collins on with the tempo-syncable Auto Gate; and capture and hold the tail indefinitely with a click of the Freeze button. No matter what anyone’s reverberation goal might be, Pro-R 2 has everything needed to realize it.
Full-featured preset browser
A great improvement on the simple hierarchical menu of Pro-R, Pro-R 2’s streamlined new preset browser makes it easier than ever to navigate and manage the factory library and user presets. Assign editable tags for filtered searching, set presets as favorites for one-click filtering, and add author names and text descriptions. And if the original Pro-R is installed then all its presets appear in Pro-R 2’s library as well.
PSP 2445 EMT is a reverb processor plug-in (VST, AAX and RTAS for Windows; AudioUnit, VST, AAX and RTAS for Mac OSX) inspired by two legendary early digital age reverberators: the EMT® 244 and the EMT® 245. PSP thoroughly researched how to bring the specific features of those simple, yet very musical sounding reverbs to life as a plug-in. We then improved from the originals with a handy set of parameters to control details of the sound and mix the reverb not available in the original hardware. The PSP 2445 is capable of processing using one selected engine or both of them simultaneously.
The reverb algorithms implemented in PSP 2445 are based on original algorithms designed by Dr. Barry Blesser (one of the grandfathers of the digital audio revolution). Thanks to Barry’s extensive consultation and support our algorithms sound as good as the originals and plug-in could be officially endorsed by EMT Studiotechnik GmbH.
With A Sound Effect, Asbjoern has created a web site where our international community can browse, learn, and share the vast fruits of our labors. Together we are accelerating the very real potential power of sound design as a recognized art form.
A Sound Effect is an excellent resource for us to keep our animated films sounding unique and exciting.
A Sound Effect is a great asset to have discovered.
We found the site very easy to navigate, purchasing and downloads were effortless and the effects themselves are awesome! Asbjoern has done us all a great service.
We’ll definitely be back!
There are many great independent sound effect libraries available these days. The main problem with having so many, is keeping track of them!
A Sound Effect is a great hub, and is one of the first places I visit to look for sounds by category or genre. I started coming here to see if I could find libraries that I knew I had heard, but forgot WHERE I had heard them.
And in the process discovered libraries I never would have found otherwise. Great work! Keep it up!
We're always looking for new sounds to mangle, so when A Sound Effect had a holiday sale, I tried them out.
The purchase experience is really smooth and quick, and delivery is almost instant.
I'll definitely come back to them again in the future!
A Sound Effect is a wonderful resource for indie sound effects libraries. On top of that, it has some of the finest sound design, film and game audio interviews!
I often need very specific types of sounds so I've become a big supporter of independent recorders.
Until now I've always had to go to their individual websites. Now I can find them all in one place.
And, Asbjoern is great to work with!
A Sound Effect is a well curated boutique sound effects shop and a great place to find industry interviews and learning resources.