A New, Streamlined User Interface Auto-Tune Pro features a sleek, all-new interface in both Auto Mode and Graph Mode, redesigned for ease of use and efficient workflow. Auto Mode now includes two unique screen views: Basic View which gives you quick and easy access to the core features of Auto Mode, and Advanced View which unlocks the powerful MIDI, scale editing and vibrato features. The Graph Mode interface has be redesigned from the ground up. In addition to a much larger Main Graph, the new Graph Mode features greater zoom resolution, user assignable zoom presets, and controls reconfigured to optimize workflow efficiency. Classic Mode Classic Mode is the much-requested return of the celebrated “Auto-Tune 5 sound.” As we’ve added new features to Auto-Tune (such as Formant Correction, Throat Modeling, and Flex-Tune) the Auto-Tune algorithm has evolved, and its sonic qualities have undergone subtle changes, with each Auto-Tune version having its own slightly different character. Over the years, the sound of Auto-Tune 5 has developed something of a cult following among musicians, audio engineers and producers, perhaps due in part to its use on many iconic pop recordings. Due to popular demand, we’ve made the Auto-Tune 5 sound available in Auto-Tune Pro via the new Classic Mode. Auto-Key: Automatic Key and Scale Detection Auto-Key is a brand new plug-in, included with your Auto-Tune Pro purchase, which automatically detects the key and scale of your music and sends that information to one or more instances of Auto-Tune Pro. If you already know the key and scale of your tracks, you may also find Auto-Key useful for simultaneously setting the Key and Scale parameters of multiple instances of Auto-Tune Pro from a single location. ARA: Audio Random Access Auto-Tune Pro now supports ARA (Audio Random Access) in the Studio One DAW. ARA is a technology that allows for closer integration and exchange of information between audio plugins and host applications (digital audio workstations). When used with Studio One, it’s now possible to edit in Auto-Tune Pro’s Graph Mode without first having to play audio into Auto-Tune in real time. MIDI Parameter Control Many of Auto-Tune Pro’s key parameters can now be controlled in real time with a MIDI controller, including Retune Speed, Flex-Tune, Humanize, Throat Length and all of the Vibrato functions. Assign the parameters to the controls on your MIDI device, and perform dramatic effects in real time on stage or in the studio.

Harmony Engine EVOThe quickest, easiest tool for creating realistic harmonies. From the company that revolutionized professional vocal production with Auto-Tune pitch correction technology, comes Harmony Engine Evo, the second generation of Antares' real-time harmony generating plug-in that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer.Building on the power and ease of use of the original Harmony Engine, Harmony Engine Evo incorporates Antares' groundbreaking Evo™ Voice Processing Technology for faster, more accurate pitch detection, smoother, artifact-free pitch shifting, and seamless, natural-sounding (if you want it to be) throat modeling. And with the addition of 5 channels of Antares' unique CHOIR Vocal Multiplier, you can now create huge vocal ensembles out of a single vocal line.With four independent harmony voices, a variety of powerful harmony generating modes, humanization features for natural sounding performances, and a flexible real-time preset system for harmony and vocal type, Harmony Engine Evo provides incredibly easy-to-use tools to quickly and easily produce virtually any vocal arrangement you can imagine.Whether you’re an experienced vocal arranger, a songwriter looking for that perfect backup vocal, or a composer experimenting with unique vocal effects, Harmony Engine Evo  gives you entirely new ways to create the harmony parts you hear in your head. In fact, experimenting with different harmonies is so easy (and, dare we suggest, fun), you may find yourself using Harmony Engine Evo to explore harmonic alternatives you may have never otherwise considered.Key Harmony Engine Evo features include: Antares' groundbreaking Evo™ Voice Processing Technology for faster, more accurate pitch detection and smoother, artifact-free pitch shifting. Four high-quality, formant-corrected harmony voices with independent vocal character, vibrato, and pan settings Five channels of our unique CHOIR Vocal Multiplier, to let you turn each voice into 2, 4, or 8 individual unison voices, perfect for creating jaw-droppingly amazing choirs out of a single vocal line Antares Throat Modeling technology that lets you process each harmony voice through a physical model of the human vocal tract The quickest, easiest tool for creating realistic harmonies. From the company that revolutionized professional vocal production with Auto-Tune pitch correction technology, comes Harmony Engine Evo, the second generation of Antares' real-time harmony generating plug-in that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer. Building on the power and ease of use of the original Harmony Engine, Harmony Engine Evo incorporates Antares' groundbreaking Evo™ Voice Processing Technology for faster, more accurate pitch detection, smoother, artifact-free pitch shifting, and seamless, natural-sounding (if you want it to be) throat modeling. And with the addition of 5 channels of Antares' unique CHOIR Vocal Multiplier, you can now create huge vocal ensembles out of a single vocal line. With four independent harmony voices, a variety of powerful harmony generating modes, humanization features for natural sounding performances, and a flexible real-time preset system for harmony and vocal type, Harmony Engine Evo provides incredibly easy-to-use tools to quickly and easily produce virtually any vocal arrangement you can imagine. Whether you’re an experienced vocal arranger, a songwriter looking for that perfect backup vocal, or a composer experimenting with unique vocal effects, Harmony Engine Evo  gives you entirely new ways to create the harmony parts you hear in your head. In fact, experimenting with different harmonies is so easy (and, dare we suggest, fun), you may find yourself using Harmony Engine Evo to explore harmonic alternatives you may have never otherwise considered. SPECIFICATIONSHarmony Engine Evo is available for:Macintosh (Universal Binaries)  RTAS  VST  Audio Units PC  RTAS  VST

If you've ever wished for an extensive collection of exotic mics (but shuddered at the cost), then Mic Mod EFX is the plug-in for you.Using our patented Spectral Shaping Tool™ technology, we've created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you'd like it to sound like. It's as simple as that.With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you're looking for. Or use it in live performance to get the sound of mics you'd never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track.Source Mic and Modeled Mic - Simply select the mic you're using (or used during your original recording) and the mic you want it to sound like. Proximity - Proximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer's lips). With Mic Mod EFX's Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic.Low Cut Filter - If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu.Pickup Pattern - If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu.Tube Saturation - Based on the same technology as Antares' famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp.SPECIFICATIONS Mic Mod EFX is available for: Macintosh (Universal Binaries) * RTAS * VST * Audio Units PC * RTAS * VST

For decades, engineers, producers, and musicians have marveled at Bob Clearmountain’s mixes. Recordings by iconic artists like David Bowie, Chic, Roxy Music, The Rolling Stones, Bruce Springsteen, Bryan Adams, INXS, and so many more, are prime examples of how Clearmountain’s work elevated the role of “the mixer” to that of an essential creative partner in the process of making records. Clearmountain’s ability to build a soundscape and atmosphere where voices and instruments seem to effortlessly live in an intimate space but all blend together seamlessly set new standards for mixing. And, his artistry and passion to reveal the true character of the song and highlight the emotion of the music, gets to the heart of what inspired the song from its inception. While this is a craft honed over a career of many experiences, accomplishments and hit records, there are secrets that can be shared and Clearmountain’s Domain offers one of Bob’s most refined and important techniques in a simple and streamlined plugin. Apogee’s Clearmountain’s Domain plugin reproduces Bob Clearmountain’s personalized FX signal chain for creating the cohesive spaces, expansive dimensions, and rich atmospheres where his mixes live. Classic presets help you to recreate the sonic environment of your favorite Clearmountain mixes. Advanced views reveal Clearmountain’s decades of expertise and empower you to create your own musical mix domain. Clearmountain’s Personalized FX Signal Flow • Pre Delay/Reverb De-esser• Pre Delay/Reverb EQ• Stereo Delay with Spin Time Compensation• Delay Blur (Saturation)• Stereo Unison to Octave Pitch-Shift• Clearmountain Spaces Convolution Reverbs• FX Mixer Clearmountain’s Classic PresetsClearmountain Spaces, Convolution ReverbsReal Time FX Visualizer

AU/VST/AAX The Apogee FX Rack bundle includes all 4 FX Rack plugins: ModComp, ModEq, EQP-1A, and Opto 3-A. The Apogee FX Rack bundle runs natively in your favorite macOS DAW without any Apogee hardware but also has DualPath™ functionality that allows the plugins to run on Apogee Hardware DSP in Element Series and Ensemble Thunderbolt audio interfaces. Try for Free Includes: EQP-1A Opto-3A ModEQ 6 ModComp The Apogee FX Rack bundle is FREE through December 30th, 2018 when you purchase an Ensemble Thunderbolt or Element Series interface from an authorized Apogee dealer. System Requirements Mac OS X 10.12.6 or higher – 10.14 Mojave fully supported 4 GB minimum RAM, 8 GB or higher recommended Free Pace iLok account – physical iLok not required Supported DAWs: Logic Pro 10 Pro Tools 12, Ultimate (ProTools 11 and lower not currently supported ) Ableton Live 10 Cubase 9.5 VST 1 & 2 (VST 3 not implemented in this release ) Please note that any AUv2, VST 1&2m, or AAX fully compliant DAW should work

Die Arturia FX Collection 5 ist nach wie vor eine der umfangreichsten Premium-Effekt-Suiten auf dem Markt. Mit 34 Titeln, darunter vier Neuzugänge - Bus PEAK, Bus EXCITER-104, Efx MOTIONS und Efx REFRACT - bietet diese Suite ein breites Spektrum an Klangverbesserungen und kreativen Gestaltungsmöglichkeiten. Von der vintage Klangfärbung bis hin zur innovativen Klangmanipulation bietet die FX Collection 5 eine unvergleichliche Auswahl an fachmännisch modelliertem outboard Equipment und modernen Plug-ins, mit denen Sie Ihren Sound verbessern, in einem Mix platzieren und in etwas völlig Neues verwandeln können.

Ein komplettes Augmented Orchestral series, zwei von Grund auf neu entwickelte Instrumente für mehr Realismus und sechs brandneue Instrumente - die V-Collection ist ein One-Stop-Shop für alle Anforderungen an virtuelle Instrumente. 

The original convolution reverb Altiverb is a plug-in that makes your audio sound as if it was played back somewhere else, adding the acoustics of existing spaces to your own recordings or to your live audio. All spaces in Altiverb were recorded in the real world, from Sydney Opera House to a Scottish underground oil tank the size of a cathedral. Features Apart from the extensive library of impulse responses you get with this plug-in, Altiverb features some clever controls for shaping the sound of this convolution reverb. Decay This essential reverb parameter is very prominent in Altiverb 8. You can apply an exponential decay on any impulse response to reduce the reverb time, without changing the character of the room. Brightness Real spaces often contain less high frequency content than algorithmic (synthetic) reverbs. Sometimes you need that extra sparkling brightness in a reverb tail that is just hard to obtain from the real world. Damping Control the reverb length of three separate and adjustable frequency bands. Shortening is damping, lengthening is enhancing. You can see the effect of damping in the waterfall graph of the impulse response. Stage positions Altiverb can have mono or stereo inputs. When making impulse responses, we used either one speaker position in the center of the stage for mono input, or two speaker positions for stereo input. So there is a direct relation between the amount of inputs and the speakers used. Using the positioner tab, available only in mono and stereo input Altiverbs, you can switch on the speaker, in which case you can hear where it stands. You can also, right there, move the speaker around. Equalizer Altiverb features a four band equalizer. The bass and treble bands are Baxandall EQs, designed to not shift phase more than 180 degrees, which effectively means that combing or cancellation effects are unlikely when the EQ’d signal is mixed with the dry signal. The equalizer works on the wet signal only. Size Makes the selected room (impulse response) smaller or larger. This transposes room modes and resonances, tightens or spreads early reflections, and shortens or lengthens the reverb tail. Pre-delay Delays the onset of the reverb. If the note symbol is clicked, the timing of the delay is locked to the tempo of the host application so you can select an eighth-note as the delay time. Attack Fades-in the start of the impulse response, resulting in a more lush, distant reverb sound. Reverse The entire impulse response is reversed in time for backward reverb effects. Modulation This effect does not emulate anything that happens in reality, it emulates something that happens in artificial reverb algorithms. Gated Reverb Allows you to abruptly cut-off a reverb after a set amount of time. The gate time can also be locked to the tempo of the host application. Snapshots Snapshots are presets that are private to an instance of Altiverb. WHAT IS NEW IN ALTIVERB 8 Native Apple silicon M1 / M2 & Intel macs are fully supported. New scalable user interface (except AU version) Cloud size Automatic input-pan following reverb, locate each reverb around the panning of the source, even when multiple sources move in a single instance. Smooth and clickless IR switches, reverb adjustments and stage position changes all practically seemless without any clicks. Improved IR searching The newly designed browser offers more and quicker ways to find the right IR. New IR Tool This tool enables you to create your own IRs, with output support up to 9.1.6 channels. Computer activation The Altiverb license can be activated on a computer or on a USB iLok key. The iLok USB key is NO LONGER required. VST3 Plug-In To ensure compatibility with worldclass VST host applications (DAWs) like Ableton Live, Cubase, Nuendo and Digital Performer Altiverb 8 features a VST3 plug-in. Center Almost all IRs have been supplied with a real center channel for LCR or 5.0 7.0 without center bleed. New Spaces many new spaces are included with Altiverb 8, like the Zuidervermaning from the intro video, a dance club, some industrial spaces, a Tesla, camper vans , atmos plates and springs reverbs, and a selection of buckets and bins including a porta toilet. All including atmos. improved loading speed. Your sessions with many Altiverbs will load quicker than ever. WHAT IS NOT NEW IN 8 Wait? What?This is what Altiverb 8 continues to deliver, just like Altiverb 7 (and earlier) has been delivering for two decades: Backward compatibility, Altiverb 8 opens in sessions/projects that were made with Altiverb since 2006 and the session/project will sound the same. All IRs ever released for Altiverb. New IRs will be added regularly, for free. Fixes and support without yearly fees. The option to sell and transfer your license. Countless ways of manipulating the reverb sound with controls like reverb time, attack, brightness, pre delay, EQ, damping.. Revolutionary stage positioning control for placing single members of a group, ensemble or even a complete orchestra on their own individual spot on stage, in any room/concert hall

The original convolution reverb Altiverb is a plug-in that makes your audio sound as if it was played back somewhere else, adding the acoustics of existing spaces to your own recordings or to your live audio. All spaces in Altiverb were recorded in the real world, from Sydney Opera House to a Scottish underground oil tank the size of a cathedral. Features Apart from the extensive library of impulse responses you get with this plug-in, Altiverb features some clever controls for shaping the sound of this convolution reverb. Decay This essential reverb parameter is very prominent in Altiverb 8. You can apply an exponential decay on any impulse response to reduce the reverb time, without changing the character of the room. Brightness Real spaces often contain less high frequency content than algorithmic (synthetic) reverbs. Sometimes you need that extra sparkling brightness in a reverb tail that is just hard to obtain from the real world. Damping Control the reverb length of three separate and adjustable frequency bands. Shortening is damping, lengthening is enhancing. You can see the effect of damping in the waterfall graph of the impulse response. Stage positions Altiverb can have mono or stereo inputs. When making impulse responses, we used either one speaker position in the center of the stage for mono input, or two speaker positions for stereo input. So there is a direct relation between the amount of inputs and the speakers used. Using the positioner tab, available only in mono and stereo input Altiverbs, you can switch on the speaker, in which case you can hear where it stands. You can also, right there, move the speaker around. Equalizer Altiverb features a four band equalizer. The bass and treble bands are Baxandall EQs, designed to not shift phase more than 180 degrees, which effectively means that combing or cancellation effects are unlikely when the EQ’d signal is mixed with the dry signal. The equalizer works on the wet signal only. Size Makes the selected room (impulse response) smaller or larger. This transposes room modes and resonances, tightens or spreads early reflections, and shortens or lengthens the reverb tail. Pre-delay Delays the onset of the reverb. If the note symbol is clicked, the timing of the delay is locked to the tempo of the host application so you can select an eighth-note as the delay time. Cloud Size and Pan Tracking Reverb - from LCR up to 9.1.6 input Altiverbs Altiverb XL supports more than two inputs. With more then two inputs there is no longer a direct relation between an input and a speaker that was used when making the impulse response. Therefore the Positioner tab is unavailable. Instead there is a new control: cloud size. With cloud size turned down, the reverb no longer outputs to all output channels, it starts clustering around the input pan position of your sounds. Even when the input sound moves, the reverb cloud travels along with it. Attack Fades-in the start of the impulse response, resulting in a more lush, distant reverb sound. Reverse The entire impulse response is reversed in time for backward reverb effects. Modulation This effect does not emulate anything that happens in reality, it emulates something that happens in artificial reverb algorithms. Gated Reverb Allows you to abruptly cut-off a reverb after a set amount of time. The gate time can also be locked to the tempo of the host application. Mixer Everything is recorded with enough microphones to provide Atmos reverb (up to nine eye level speakers plus six over head channels). There's a new output meter and a mixer that provides full control of all outputs. Snapshots Snapshots are presets that are private to an instance of Altiverb. WHAT IS NEW IN ALTIVERB 8 Native Apple silicon M1 / M2 & Intel macs are fully supported. Dolby Atmos support Up to 9.1.6 input and output channels for fully immersive convolution reverb.  New scalable user interface (except AU version) Cloud size Automatic input-pan following reverb, locate each reverb around the panning of the source, even when multiple sources move in a single instance. Smooth and clickless IR switches, reverb adjustments and stage position changes all practically seemless without any clicks. New output level meters These allow manipulation of level and delay per output channel. Pure Dolby Atmos IRs Almost all of the hundreds of the music spaces (concert halls, churches, cathedrals, studios, scoring stages) have been upgraded to Dolby Atmos by utilizing the original extra recordings we have been routinely making throughout the years.All outputs of Altiverb are always real and distinct original speaker to microphone takes. Mono pan following Across surround busses up to Dolby Atmos (9.1.6), making multi-mono instances unnecessary, reducing session load time considerably. Improved IR searching The newly designed browser offers more and quicker ways to find the right IR. New IR Tool This tool enables you to create your own IRs, with output support up to 9.1.6 channels. Computer activation The Altiverb license can be activated on a computer or on a USB iLok key. The iLok USB key is NO LONGER required. VST3 Plug-In To ensure compatibility with worldclass VST host applications (DAWs) like Ableton Live, Cubase, Nuendo and Digital Performer Altiverb 8 features a VST3 plug-in. Center Almost all IRs have been supplied with a real center channel for LCR or 5.0 7.0 without center bleed. New Spaces many new spaces are included with Altiverb 8, like the Zuidervermaning from the intro video, a dance club, some industrial spaces, a Tesla, camper vans , atmos plates and springs reverbs, and a selection of buckets and bins including a porta toilet. All including atmos. improved loading speed. Your sessions with many Altiverbs will load quicker than ever. WHAT IS NOT NEW IN 8 Wait? What?This is what Altiverb 8 continues to deliver, just like Altiverb 7 (and earlier) has been delivering for two decades: Backward compatibility, Altiverb 8 opens in sessions/projects that were made with Altiverb since 2006 and the session/project will sound the same. All IRs ever released for Altiverb. New IRs will be added regularly, for free. Fixes and support without yearly fees. The option to sell and transfer your license. Countless ways of manipulating the reverb sound with controls like reverb time, attack, brightness, pre delay, EQ, damping.. Revolutionary stage positioning control for placing single members of a group, ensemble or even a complete orchestra on their own individual spot on stage, in any room/concert hall

Acoustics for POST Indoor is Audio Ease's flagship convolution reverb for Audio Post. Indoor features unprecedented sound quality, flexibility and ease of operation, AAX DSP support, click-free automation, zipper-free motion and up to nine channels of reverb, in a single resizable window without tabs. Indoor can take your studio recordings from understated to overdone, always remaining stunningly real. So that hearing is believing. Features Location location Every room, hallway and kitchen from 10 houses and vehicles, 60 spaces sampled from every angle. Click to drop speaker and microphone in any room, or to open and close doors. Indoor any room to any room Any room to any room Not only the 60 rooms have been sampled but also any-room-TO-any-room is available. Over 1000 impulse responses, everything recorded in 9 channels with a consistency and quality never before presented. Indoor turning motion Turning motion The microphone system can turn, creating seamless, zipper-free and automatable motion in any surround track up to 7.0 plus Dolby Atmos, fully supporting new immersive audio requirements. Panning motion Or insert a 7.0 to 7.0 Indoor in a bus and pan sounds into it. Use the Spread knob to tighten the reverb around each incoming source, dynamically following its panning. That’s Input Pan Following Reverb and its zipper-free. Zipper- and click-free Inside is a completely new convolution engine focused on impulse response changes that are click-free, zipper-free and instant, and they cause no CPU spikes. Pre-roll for IR switches is no longer necessary and neither are multiple instances to cover up switches. AAX DSP version Use the AAX DSP version of Indoor to drop the CPU Load and reduce latency to a millisecond and a half. You can load 3 mono to stereo Indoors on a single chip. No Indoor uses more than 1 chip. AAX DSP is available up to 48 kHz and for up to 1-in 7-out, or up to 5-in 5-out. 9 channel AB or MS Easily switch between the two main surround microphone systems: Baffled Omni-directionals (AB) or Mid Side (MS), or combine them to create 7.0 DTS. Add two ceiling channels (for Dolby Atmos®) to get to a total of 9 channels of real decorrelated reverb channels. Ease and speed There are no tabs or browser windows. The window can be resized and presets are there for super quick operation. CPU load is lower than you’d expect, and because of the zipper- and click-free instant switches you will use less instances than you are used to. Quality & consistency Indoor more than doubles the domestic and vehicle categories of impulse responses available so far. Everything recorded with the same top quality system, so mixing and switching acoustics is more trouble-free than ever.

HighEnd Speakersimulator absolut autentisch klingende Lautsprecher incl. ihrer natürlichen Umgebungsgeräusche (!) 270 Speaker Impulse Responses (powered by Altiverb) wie z.B.: Telefone, Handys, Megaphone, Walkie-Talkies, alte Radios, Grammophone echtes Highlight: höchstwertig klingende Gitarrenamps und Cabinets zusätzlich 5GB Samples von Umgebundgsgeräuschen (wie z.B. Bahnhofsumgebung, Züge, vorbeifahrende Autos, Restaurantatmos, Telefongeräusche etc.) zusätzlich zahlreiche Effekte: Altiverb Reverb Engine mit 30 Räumen, Distortion, EQ, Gate, Compressor, Modulation, Delay, Tuning, Bitcrusher, vorkonfiguriert in 500 Presets als VST/AU/MAS/RTAS WIN und Mac OSXFür weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

Grammy Award-winning technology exceptionally musical and intuitive note-based way of working the algorithms Melodic (with Sibilant Detection), Percussive and Universal the complete Melodyne toolkit macros for optimizing intonation, timing quantization, and leveling the Chord Track and Chord Grid with automatic chord recognition tempo detection inspectors for quick access to all parameters full compatibility: VST 3, AU, AAX, stand-alone integration via ARA Audio Random Access (depending on the DAW) macOS and Windows, 64-bit current version: 5 Note-based audio editing Melodyne grants you unrivaled access to all the musical details in your recordings and samples – note by note. This is made possible by a sophisticated analysis that delves deeply into your recordings and samples, and recognizes and understands the musical relationships within them: the individual notes and their characteristics, the scales, keys and chords, the timing, the tempo, the tone color. And with Melodyne you can edit all these things intuitively. With vocals, but every type of instrument as well – including polyphonic ones, such as the piano and guitar. New in Melodyne 5: New technologies, for better results in less time. Thanks to the fundamentally improved “Melodic” algorithm, Melodyne makes your vocal editing even better than before. With perfect, natural corrections at the press of a key. Thanks to the Chord Track, you can adapt notes with lightning speed to suit the song – chord recognition included. And with the unique Fade Tool, you can create note-based fades – even in polyphonic recordings and samples. All this is new: the ability to edit pitched and noise-like components separately with the “Melodic” algorithm a more musical analysis of pitch deviations the Chord Track and Chord Grid for pitch editing, chord recognition the Fade Tool and Leveling Macro for editing dynamics an additional algorithm (“Percussive Pitched”) plus other algorithm improvements search functions for keyboard shortcuts, saving of shortcut sets

Grammy Award-winning technology, including DNA Direct Note Access exceptionally musical and intuitive note-based way of working the algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic the complete Melodyne toolkit macros for optimizing intonation, timing quantization, and leveling the Chord Track and Chord Grid with automatic chord recognition tempo detection and editing comprehensive functions for the editing of scales, tuning systems and temperaments inspectors for quick access to all parameters polyphonic audio-to-MIDI export full compatibility: VST 3, AU, AAX, stand-alone integration via ARA Audio Random Access (depending on the DAW) macOS and Windows, 64-bit current version: 5 Note-based audio editing Melodyne grants you unrivaled access to all the musical details in your recordings and samples – note by note. This is made possible by a sophisticated analysis that delves deeply into your recordings and samples, and recognizes and understands the musical relationships within them: the individual notes and their characteristics, the scales, keys and chords, the timing, the tempo, the tone color. And with Melodyne you can edit all these things intuitively. With vocals, but every type of instrument as well – including polyphonic ones, such as the piano and guitar. New in Melodyne 5: New technologies, for better results in less time. Thanks to the fundamentally improved “Melodic” algorithm, Melodyne makes your vocal editing even better than before. With perfect, natural corrections at the press of a key. Thanks to the Chord Track, you can adapt notes with lightning speed to suit the song – chord recognition included. And with the unique Fade Tool, you can create note-based fades – even in polyphonic recordings and samples. All this is new: the ability to edit pitched and noise-like components separately with the “Melodic” algorithm a more musical analysis of pitch deviations the Chord Track and Chord Grid for pitch editing, chord recognition the Fade Tool and Leveling Macro for editing dynamics an additional algorithm (“Percussive Pitched”) plus other algorithm improvements search functions for keyboard shortcuts, saving of shortcut sets

Grammy Award-winning technology exceptionally musical and intuitive note-based way of working the algorithms Melodic (with Sibilant Detection), Percussive and Universal Melodyne's Main Tool for editing pitch and timing macros for optimizing intonation, timing quantization, and leveling the Chord Track and Chord Grid with automatic chord recognition tempo detection full compatibility: VST 3, AU, AAX, stand-alone integration via ARA Audio Random Access (depending on the DAW) macOS and Windows, 64-bit current version: 5 Note-based audio editing Melodyne grants you unrivaled access to all the musical details in your recordings and samples – note by note. This is made possible by a sophisticated analysis that delves deeply into your recordings and samples, and recognizes and understands the musical relationships within them: the individual notes and their characteristics, the scales, keys and chords, the timing, the tempo, the tone color. And with Melodyne you can edit all these things intuitively. With vocals, but every type of instrument as well – including polyphonic ones, such as the piano and guitar. New in Melodyne 5: New technologies, for better results in less time. Thanks to the fundamentally improved “Melodic” algorithm, Melodyne makes your vocal editing even better than before. With perfect, natural corrections at the press of a key. Thanks to the Chord Track, you can adapt notes with lightning speed to suit the song – chord recognition included. And with the unique Fade Tool, you can create note-based fades – even in polyphonic recordings and samples. All this is new: the ability to edit pitched and noise-like components separately with the “Melodic” algorithm a more musical analysis of pitch deviations the Chord Track and Chord Grid for pitch editing, chord recognition the Fade Tool and Leveling Macro for editing dynamics an additional algorithm (“Percussive Pitched”) plus other algorithm improvements search functions for keyboard shortcuts, saving of shortcut sets

Grammy Award-winning technology, including DNA Direct Note Access exceptionally musical and intuitive note-based way of working the algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic Multitrack Note Editing – edit multiple tracks in a single Melodyne window the complete Melodyne toolkit macros for correcting intonation, timing quantization and leveling - even across tracks the Chord Track and Chord Grid with automatic chord recognition tempo detection and editing the Sound Editor, offering unique control over tone colors comprehensive functions for the editing of scales, tuning systems and temperaments inspectors for quick access to all parameters polyphonic audio-to-MIDI export full compatibility: VST 3, AU, AAX, stand-alone integration via ARA Audio Random Access (depending on the DAW) macOS and Windows, 64-bit current version: 5 Note-based audio editing Melodyne grants you unrivaled access to all the musical details in your recordings and samples – note by note. This is made possible by a sophisticated analysis that delves deeply into your recordings and samples, and recognizes and understands the musical relationships within them: the individual notes and their characteristics, the scales, keys and chords, the timing, the tempo, the tone color. And with Melodyne you can edit all these things intuitively. With vocals, but every type of instrument as well – including polyphonic ones, such as the piano and guitar. New in Melodyne 5: New technologies, for better results in less time. Thanks to the fundamentally improved “Melodic” algorithm, Melodyne makes your vocal editing even better than before. With perfect, natural corrections at the press of a key. Thanks to the Chord Track, you can adapt notes with lightning speed to suit the song – chord recognition included. And with the unique Fade Tool, you can create note-based fades – even in polyphonic recordings and samples. All this is new: the ability to edit pitched and noise-like components separately with the “Melodic” algorithm a more musical analysis of pitch deviations the Chord Track and Chord Grid for pitch editing, chord recognition the Fade Tool and Leveling Macro for editing dynamics an additional algorithm (“Percussive Pitched”) plus other algorithm improvements search functions for keyboard shortcuts, saving of shortcut sets

Peacock can be used on a stereo bus to create the classic vinyl sound.  On individual tracks it is also very useful in creating large fat sounds, smoothing of the harmonic content and making a nice smooth vintage sound on vocals and other instruments. There are three main controls; Harmonic, Dynamic and Color.  The Harmonic and Dynamic controls interact and control the level of the harmonic distortion.  The Color switch changes the character / interaction of the controls and sets the maximum amount of midrange / LF color and the HF compression characteristic.  The Dynamic control is the tricky one, what is does is time modulate the distortion components which are very frequency dependent due to the RIAA curve.  There are two main components that cause time modulation in a vinyl record.  The first is due to the cutter and the playback stylus not having the same shape, this is called tracing distortion the other is tracking distortion due to the playback systems miss-alignment and the inability to perfectly follow the grove in the record.The Dither control adds noise that is the spectrum of record noise.  It modulates some of the internal functions an adds dither to the audio path at a level for 16 bit ditheringColor = Gold is an extremely close match to the test material which is a record and the original wave file.  It has been optimized at 96K but will work fine at other sample rates.The Silver setting is lighter setting and coloring increases in the order of the settings; Silver, Gold, Rich, Fat, Deep.   Silver is also the brightest setting. The amount of time modulation with the Dynamic control is level dependent and has a maximum range.  It is more of a matter of finding the control position that is optimum.   Pushing it to higher levels creates ugly sounds.  The code prevents this. The plug-in can introduce large amounts of second harmonic distortion resulting in a large fat smooth sound.

UpgradesIf the TDM license is less than 1 year old there is no charge for the upgrade to the original owner.If it is not the original owner one must buy a full license.Phoenix II is an update of Crane Song's suite of TDM plug-ins designed to emulate the unique properties of a magnetic tape machine. Phoenix II runs both NATIVE and DSP on Avid's PT 10 AAX format. Phoenix II uses 32 bit floating point math and has a lower noise floor than the original release.Designer Dave Hill has crafted this software with the same attention to detail he used to create the electronics for ATR Service's much heralded "Aria" discrete tape recorders.  His intimate knowledge of analog electronics, as well as decades of experience as a recording engineer has spawned a very useful, musical suite of plug-ins.  The Phoenix II process not only incorporates the nonlinear saturation characteristics created by magnetic tape itself, but also includes the interrelation of an analog tape recorder's record/reproduce electronics and equalization curves.  Phoenix II is a ground-up application derived from HEDD technology, and specifically engineered and optimized for Avid's PT 10 architecture.Phoenix II has five different tape-analog characteristics, The type is selected with a switch for easy comparison between the types, and the brightness is also selected with a switch.  Gold is the position where the color is approximately flat in frequency response, with Sapphire being a brighter, and Opal being a warmer tonality.  A level control determines the amount of the Phoenix II process integrated into the audio signal, and an input trim determines "how hard you hit the tape." Because the DSP process is level dependent, the input level trim control has been improved and an output trim control has been added.   The input trim can also be used to prevent clipping in the rare cases where clipping may be a problem and bringing up the level of a track for an increased amount of color.  This can be useful on material that is hitting close to or at digital zero and on material that has a low recorded level. When the input trim and output trim controls are at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input. The Phoenix II contains five separate flavors:      Luminescent is the most neutral sounding process of the five.      Iridescent has a similar magnetic character, but with a fatter bottom and midrange.               (This plug-in is the most similar to the tape knob on HEDD-192.)      Radiant is characterized by a more aggressive compression curve      Dark Essence is even more aggressive. (The effect is a color with a wider              frequency range-when used on a vocal  Dark Essence can reduce sibilance              problems by increasing the apparent loudness of the rest of the signal.)      Luster starts more gently than the other four processes, but becomes as              aggressive as Dark Essence when the process is at full scale.

RA can be thought of as an amplifier that is being over driven, (Wave Form Compression), but there is control over what part is being overdriven.  An analogy from photography, it is like the curve function.  The controls in RA are divided into 4 groups. The first and most useful control is the LOW LEVEL control; it is in the middle of the graphic.  This control brings up the low level content of the audio.  It may also be thought of as a detail control.  It functions like an amplifier being over driven, but works more on the low level part of the signal and less on the high level part.  This control generates third harmonic distortion.  The LOW LEVEL control can also have a multiplying effect on other plug-ins by increasing their effect.  The LOW LEVEL control is useful on most any kind of signal and is a little like upward compression with out attack and release times.  Try is on a vocal and listen to the dynamic change. The second control group is the PEAK controls.  They are like an adjustable soft clip, or an amplifier where you have control over how it saturates, but leaves the low level part of the signal alone.  The distortion generated by the PEAK controls is third harmonic.  The PEAK control rounds off the peaks of the wave shape and has a hardness value that can be changed.  The HARDNESS control's soft setting (0) limits the peak to approximately -3dbfs and the hard setting (100) limits peaks to approximately -10dbfs. An example to try; take a track with a snare drum that peaks in the range of -3dbfs.  Set the LOW LEVEL, PEAK and HARDNESS controls to max. Look at the meter, what you should see is a peak reading around -10dbfs but it should be louder with the plug-in engaged as compared to bypass. It is also useful in preventing an occasional over. The next control group generates even harmonic content.  These controls are the most difficult to hear and describe.  Being that the second harmonic is an octave.  In a test some people did not hear 50% distortion if it is only second harmonic.  But it does change the feel of things and can have a thicking effect.  The TOP control rounds off the top of the wave shape and the BOTTOM control rounds off the bottom of the wave shape.  When used together it is possible to have the even harmonic content cancel and have third harmonic distortion left.  Try one of these in conjunction with the LOW LEVEL control on an acoustic guitar, bass or kick drum.  You may have noticed that on some recorded tracks that the waveshape can have a shift or peaks on only it's top or bottom edge, this is a result of even harmonic content The last group has two controls are more like house keeping.  The first control which is in front of the signal processing is a DRIVE control that has a plus and minus 6 db range.  Being the distortion generator is level dependent, this will allow for a more or less aggressive operation of the process and the ability to better match the process to the track.  The DRIVE control is also unity gain from the input to the output.  However if you have a -1dbfs signal and increase the drive gain to +6 db you will clip and the clip light indicator will turn red. The last control of the plug-in is an output level trim which has a range of plus and minus 6 db for matching gain.  Clipping the signal with the trim control will light the clip light indicator, but the coloring controls cannot clip.  The main use of the LEVEL TRIM is for level matching, being the curve bending is very non linear it is not possible to have a fixed unity gain. The graphic display shows how the signal is being distorted and is useful in the prediction of what the plug-in will do.  The controls are interactive which means each one will affect the process in front of it.  Think of the curve display in a graphics program

Versetze dich in die optimale Position deines ultimativen Mix-Umfelds. dearVR MIX verwandelt jedes Studio-Kopfhörer in einen erstklassigen Stereo-Mixraum mit sorgfältig abgestimmter Akustik – alles dank fortschrittlicher räumlicher Audiotechnologie. Gewinne Sicherheit beim Abhören deiner Session in mehreren virtuellen Referenzräumen und mische mit deinen professionellen Studio-Kopfhörern, indem du dich auf die Spatial Headphone Compensation von Dear Reality verlässt.

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Bring deine Produktion auf das nächste Level mit dem hochmodernen Spatializer. Erlebe totale Kontrolle, egal ob du in Mehrkanal-Lautsprecherformaten bis zu 7.1.4 und 9.1.6, binaural oder Ambisonics mischst. Eingesetzt in der Audiospur fügt der ultra-präzise Frühreflexions- und Hall-Engine von dearVR PRO 2 eine weitere Dimension der räumlichen Erfahrung hinzu, was zu realistisch klingenden Produktionen mit natürlicher Tiefe führt und dich ins Zentrum des Klangs versetzt.

Verleihe deinen Stereo-Produktionen einen immersiven Charakter und verbinde deinen Mix mit dem natürlichsten Hall. EXOVERB bietet 50 realistisch klingende akustische Szenen mit noch nie dagewesener dreidimensionaler Tiefe und Breite. Erziele aufgeräumte Stereo-Mixe mit mehr Raum für deine Tracks, dank EXOVERBs eigenem Hall-Engine mit synthetisierten räumlichen Multi-IRs.

Re-synthisziere dein Audio basierend auf seinem DNA und gehe von leichten Änderungen bis hin zu einer vollständigen, aggressiven Neugestaltung. Mit anpassbaren Harmonischen erzeugt MIYA eine breite Palette an Variationen des ursprünglichen Eingangs, von subtilen Texturen bis hin zu krasser Verzerrung und sogar massiven Sub-Harmoniken. Verleihe deinen Klängen mehr Durchsetzungskraft im Mix, indem du sie wie einen Synthesizer formst.

Eventide Audio has pioneered audio hardware and software, developing legendary sound processing tools while constantly innovating and pushing the boundaries of technology. With the introduction of the new Anthology XII plug-in bundle, Eventide draws on that rich legacy of award-winning and groundbreaking effects to combine 33 essential music production mainstays in one package for DAW users, inspiring creativity and providing problem-solving solutions to ubiquitous sound production problems.The 33 included plug-ins make common tasks more streamlined while stimulating your inspiration. The bundle features groundbreaking Structural Effects like SplitEQ and Physion, the otherworldly sounds of Blackhole and Undulator, authentic emulations of Eventide studio mainstays such as the iconic H910, H949 and H3000 Harmonizers, Instant Phaser, Instant Flanger, Omnipressor® and the legendary reverbs of the SP2016. Also included are other one-of-a-kind tools like Tony Visconti's Tverb and Octavox.  Anthology XII adds 10 plugins to the previous Anthology bundle with 3 new reverbs, 3 new mod effects, 2 pitch effects, a cool distortion effect, and a next-generation EQ:  SplitEQ — Groundbreaking EQ with transient/tonal splitting technology SP2016 Reverb —The legendary Room, Stereo Room, and Hi-Density Plate from the rackmount SP2016 Spring — The dreamy flutters of the classic spring reverb ShimmerVerb — Massive ethereal reverb with parallel pitch shifters TriceraChorus — Syrupy smooth Tri-Stereo chorus with MicroPitch & Psychedelic Swirl CrushStation® —Distortion/Overdrive Command Central Rotary Mod — Whirly Leslie Cab Modulation Undulator —Magical H3000 Modulated Tremolo MicroPitch —Iconic H3000 Dual Voice Pitch Shift + Delay Crystals —Signature reverse pitch shift/delay effect Features  33 Plug-in flagship collection delivers 50 years of Eventide effects to your DAW 4,500+ presets across all plugins, including artist presets Modernize your workflow using SplitEQ, a groundbreaking EQ with Transient/ Tonal splitting technology Authentic emulations of classic Eventide Harmonizers®, modulation effects, and more Lush spaces from the iconic Blackhole® and SP2016 Reverb among other dreamy and musical reverbs Thicken and layer sounds with signature pitch effects like Crystals, MicroPitch, and Octavox Create depth with unique delay multi-effects like UltraTap, Undulator, and H3000 Band Delays Sweeten tracks with the smooth sounds of TriceraChorus, Instant Phaser MkII, and Instant Flanger MkII Inject heft and grit with distortion multi-effects CrushStation® and MangledVerb Design sweepable transition effects with the H9 series plug-ins RIBBON slider Plenty of ways to morph, mangle, pitch-shift, reshape, and define your sound A comprehensive and creative toolkit for producers, mixers, and artists alike The Anthology XII bundle spans five decades of Eventide innovation, from their latest, the revolutionary Structural Effects plug-ins, SplitEQ and Physion, which can modernize workflows through the application of transient/tonal splitting technology to authentic emulations of Eventide processing mainstays such as the iconic H910, H949 and H3000 Harmonizer®, Instant Phaser, Instant Flanger, Omnipressor®¬¬ and the legendary reverbs of the SP2016.  Also included are other one-of-a-kind tools like Tony Visconti's Tverb, the powerful CrushStation® overdrive/distortion command center, and the unique Octavox eight-voice diatonic pitch shift Harmonizer and the radical sound manipulation of Blackhole® and Undulator.The meticulously curated flagship Anthology XII invites the exploration of sonic spaces “from rooms to eternity” with the inclusion of seven distinct and versatile reverbs.  Sounds can be thickened and layered with signature pitch effects like Crystals and MicroPitch, whil¬e singular delay multi-effects like UltraTap and Undulator provide creative depth control. Smooth track sweetening is offered through TriceraChorus and Quadravox, while the distortion multi-effects CrushStation and MangledVerb promise sonic “heft and grit.”