Sandman v1.3.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Sandman, Effects, Delay, CE, AAX

Sandman v1.3.0 WiN

TEAM V.R | Oct 28 2017 | 6.95 MB

The Delay of Your Dreams

(Win32/64; AAX*, VST3, VST)

Sandman is far more than just a delay plugin; it’s a wormhole to the dreamtime states of your sounds. It’s a deceptively simple gateway to a microcosm of sonic dimensions bordering the absurd. It’s a new way to extract loops and grains from a sound that can be as close to or as far flung from the original, as you like. From the input of just a single sample, Sandman opens a Pandora’s box of endless sonic possibilities.  At first glance, Sandman offers the most basic parameters found on a delay plugin – host synch-able Delay Time and ping-pong feedback, along with a wet/dry mix and a filter for good measure. Use these standard features for flanging, comb filtering, or adding string-like texture to percussive sounds. The Sample Rate parameter can add vintage grime or completely decimate a sound by directly lowering the sample rate of the DSP engine; an adjacent Dirt switch gives you the loving character of a lo-fi recording.

•Unique ‘Sleep’ function creates locked loops by freezing delay buffer, allowing the Start and End time to be manipulated by up to 100%
•Sample Rate parameter directly controls the time-frequency domain of the sample, slowing or re-pitching the sound
•Dual LFOs allow bipolar modulation of nearly every parameter
•‘Dirt’ switch for some gritty vintage goodness
•Ping Pong mode for stereo effects
•Wet/Dry mix for parallel processing
•Granulate or reverse loops, then mangle or morph them into a completely different sound
•Add fluttery spring echo or silky ambience with time, feedback, and filter controls in mono or stereo
•Create interesting warps and warbles for sound design or live performance
•Wide-ranging delay times, from 5ms to 5s; get up to 8min by adjusting the Sample Rate!

Sandman v1.3.0 AAX VST VST3 x86 x64 WiN CE-V.R

Sandman Pro v1.1.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Sandman, Pro, Effects, Delay, CE, AAX

Sandman Pro v1.1.0 WiN

TEAM V.R | Oct 28 2017 | 7.34 MB

AAX VST VST3 x86 x64

Since its release, Sandman has wowed mix engineers, sound designers and DJs alike with its slice-and-dice genius. A delay plugin with a severe narcoleptic bent, Sandman uses its Sleep mode to freeze its delay buffer to create stunning loops and grains that can be re-pitched, down-sampled, played in reverse, dirtied with noise and modulated — transforming and mutating sounds beyond all recognition! Using very short delay times, the shape-shifting Sandman alternately becomes a flanger, stutter generator, wavetable synthesizer or percussion resonator. But Sandman also excels at producing traditional echo and stereo ping-pong effects, providing delay times ranging from slapback to longer than a coffee break.

Brimming with new features, from beautiful to bizarre, Sandman Pro is the indisputable Swiss army knife of the delay world.

•Seven new delay modes: Classic Tape, Modern Instant, Pitch Shifter, Glitch Shifter, Multi-Tap,Reverse and No Echo
•Produces an unparalleled variety of time-based effects, including flanging, phasing, chorus, ping-pong delays, 16-tap delays, automatic double tracking, reverse echoes, reverb, pitch shifting, harmonizing, granular synthesis, percussion resonator, stutter generator, glitch effects and many other effects that defy description
•Delay times range from 5 ms to a whopping 1,000 seconds when used in conjunction with Sample Rate reduction
•Sleep buffer can be reversed, re-pitched, down-sampled, trashed with noise, modulated and shaped with built-in lowpass and highpass filters
•Every control—including the Sleep and Kill (panic) buttons—can be automated
•Unfiltered Audio’s flagship modulation system provides eight freely assignable and fully automatable modulators, including the new Step Sequencer and ROLI Lightpad module, with intuitive drag-and-drop patching to each and every one of Sandman Pro’s controls
•Left and right channels can have cross-channel feedback and filtering applied and their delay times linked, offset or independently adjusted
•Feedback, X-Feed and Diffusion parameters to create thick delay tails or even reverbs
•M/S mode outputs Mid and Side signals on left and right channels, transforming Sandman Pro into a mid-side encoder
•M/S Width control adjusts the wet signal’s stereo field from mono to stereo to super-wide stereo
•Soft Clip function provides analog-style saturation at Sandman Pro’s inputs and outputs
•Waveform display shows the effect of your control tweaks in real time
•Newly added features provide seamless integration with the ROLI Lightpad control surface, for an unparalleled level of real-time control.

Sandman Pro v1.1.0 AAX VST VST3 x86 x64 WiN CE-V.R

Instant Delay v1.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Instant, Delay, CE, AAX

Instant Delay v1.0 WiN

TEAM V.R | Oct 28 2017 | 7.14 MB

AAX VST VST3 x86 x64

Introducing Instant Delay, newest delay plug-in from the Plugin Alliance stable that borrows from the artifact-free Modern Instant mode of its bigger sibling, Sandman Pro. In a first for delay plug-ins, Instant Delay’s modulation system also includes integration with ROLI’s latest controller, the Lightpad Block. It’s good news that Unfiltered Audio, even a simple delay, are going to be a little different. Drop Instant Delay into your standard delay returns, and it can perform all the everyday tasks you’d expect – anything from stereo echoes on a vocal track to ambient delay tails on an undulating synth pad. For its simple interface, Instant Delay has been designed to offer a huge amount of control and sonic possibility. The layout of the Delay Time setting not only offers tempo syncing for stereo channels together or separately, but also the option to offset one channel’s delay time relative to the other, thus widening the stereo field for shorter offset times, or creating syncopated rhythms for longer ones.

•Fully-featured delay line with Linked, Independent, and Offset modes for total stereo control over buffer settings
•Analog-style LP/HP/BP filter, with adjustable resonance, is applied to the feedback loop
•Built-in soft clipper with Drive control can generate subtle saturation, overdriven aggression, and everything in between
•Jitter control adds an organic nuance that results in subtle syncopations with slower delay times, and a natural “blurring” effect with faster ones
•Unfiltered Audio’s flagship modulation system provides eight freely assignable and fully automatable modulators, including a Step Sequencer, and integration with ROLI BLOCKS 5D Lightpad control surface
•A simple interface that offers a wide range of tones and applications, from simple vocal doubling to elaborate echo effects
•unique delay buffer algorithm lets users expand or contract the delay buffer in real time without pitch fluctuations or digital noise

Instant Delay v1.0 AAX VST VST3 x86 x64 WiN CE-V.R

Dent v2.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, Wavefold, VST3, VST, V.R, Tube, Tape, Soft Clip, Overfold, Harsh Fold, Hard Clip, Gloubi, EQ, Distortion, Dent, Cubic, CE, AAX

Dent v2.0 WiN

TEAM V.R | Oct 28 2017 | 8.91 MB

AAX VST VST3 x86 x64

It’s time to go deeper with your sound – way deeper. Sure, you’ve made your tracks sound nice – balanced the levels, added just the right EQ – maybe you even performed all the music. But that’s only the beginning. You want to get inside those waveforms, to tinker and explore, to realize your track’s potential and draw out a sound that had only existed between your ears. It’s time to get to know Dent 2. The original Dent was a different kind of distortion plugin, made  for every engineer and sound designer who had ever longed to manipulate the waveform on a molecular level. Now, with the release of Dent 2, audio control freaks rejoice, because Unfiltered Audio has gone subatomic. We’re talking about a let’s-sharpen-the-peaks-on-the-negative-half-of-the-waveform level of control! So if you’re looking for sweet analog hardware emulation, you better look elsewhere, because the mad scientists at Unfiltered are digital to their core, and they know exactly how to turn those ones and zeros into magic.

•Presets from The Crystal Method, Mirrorball Entertainment, Julius Dobos, and Toby Pitman (Air Studios)
•Six distinctive bitcrushing algorithms (including a circuit-bent toy simulation!)
•Randomize Preset feature—surprise and amaze yourself with sonic madness!
•Ten clippers: Hard/Soft Clip, Wavefold, Overfold, Harsh Fold, Distortion, Tube, Tape, Gloubi, & Cubic
•Complex Mode gives users the option to apply a different saturation algorithm to each of the three clipping stages
•Continuously variable Bias and Split controls progressively add DC signal to one or both phases of the input signal
•Two waveshapers independently adjust the amplitude of—and optionally invert—positive and negative phase components of your signal
•Sound-warping Shape control progressively squares off or pinches waveform peaks
•Probabilistic and Sequential Waveset (internal step-sequencer) processing creates dynamic rhythmic patterns for the distorted signal with a simple twist of two knobs
•Unfiltered Audio’s flagship modulation system provides eight freely assignable modulators (sine LFO, sawtooth/triangle LFO, square-wave LFO, input follower, sample-and-hold noise, macro control •knob, step sequencer, and ROLI Lightpad) with drag-and-drop virtual patching to most of Dent 2’s controls
•Ability to minimize modulators by clicking on their icons
•Ability to reset LFOs via a trigger input and control phase
•Adjustable, analog-style multi-mode filter — with separate resonance control and four different filtering modes — can be placed pre- or post-distortion
•Continuously variable SR control progressively degrades the sampling rate of processed signal by directly manipulating Dent 2’s internal DSP
•AGC (Automatic Gain Compensation) button
•2x and 4x oversampling
•Smooth wavesets option, available from within the Global Options menu
•OpenGL toggle switch in the Option menu
•Mix control provides parallel processing
•Zoomed-in waveform display shows the shape of wave cycles after processing, guiding your control tweaks
•Get crunchy analog-style tones like guitar pedal effects, or searing digital demolition like bitcrushing and sample rate reduction
•Add attitude to vocals with input gain, square up bass tracks with the Shaper, obliterate samples with the Bits and Sample Rate reducers, and run it all through a screaming multi-mode filter

Dent v2.0 AAX VST VST3 x86 x64 WiN CE-V.R

Fault v1.1 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Shifters, pitch shifters, Pitch, Fault, CE, AAX

Fault v1.1 WiN

TEAM V.R | Oct 28 2017 | 8.41 MB

AAX VST VST3 x86 x64

No other plugin has the comprehensive ability to manipulate pitch and time like Fault. Whether used at mixdown to fortify weak tracks or in sound design to totally mangle instruments beyond recognition, Fault’s applications are limited only by your imagination. With over 100 factory presets included – featuring settings from contributing artists like Richard Devine and Scott Kirkland from The Crystal Method – finding creative inspiration with Fault is fun and engaging. Three main processors power Fault’s comprehensive spectral control. Dual-channel Pitch Shifters musically retune sounds up or down as much as a full octave, in steps as small as 0.1 semitone. The stereo Frequency Shifter can be modulated by precision FM controls to create beautiful and discordant sounds alike. Stereo Delays use cross-channel feedback and filters to add immersive depth. And if that weren’t enough, every control knob and switch setting can be itself controlled dynamically by up to eight powerful and flexible modulators, two of which are brand new in version 1.1: Step Sequencer, and ROLI Lightpad (for seamless integration with ROLI’s latest MIDI controller hardware).

•Over 100 presets featuring settings from Richard Devine, The Crystal Method, Mirrorball Entertainment, and Toby Pitman of Air Studios
•Artifact-free frequency and pitch modulation
•Dual-channel Pitch Shifters can be stereo-linked and quantized to whole-integer semitones
•Stereo Frequency Shifter can be modulated using high-resolution FM Frequency and Depth controls
•Stereo Delays can be synced to host’s tempo
•Six feedback paths—three each for the Frequency Shifter and Delays—including cross-channel feedback
•Unfiltered Audio’s flagship modulation system provides eight freely assignable and fully automatable modulators with drag-and-drop virtual patching: sine LFO, sawtooth/triangle LFO, square-wave LFO, input follower, sample-and-hold noise, macro control knob, Step Sequencer, and ROLI Lightpad
•Mid/Side processing adjusts stereo image from mono to super-wide, and provides optional output in M/S for further processing
•High Pass and Low Pass filters can be switched to process just the wet signal or both wet and dry
•Dry/Wet control provides parallel processing
•Built-in soft clipper, anti-aliasing filters, low-fi sampling rate control and ring-modulator mode
•New 25 Hz high pass filter option for improved shifter performance
•Improved pitch shifter, available through the Options menu
•Expanded choice of interface scaling options
•Randomize Preset feature
•Now includes an OpenGL toggle switch, for Windows users with unsupported graphics cards

Fault v1.1 AAX VST VST3 x86 x64 WiN CE-V.R

G8 Dynamic Gate v1.3.1 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Gate, G8, Dynamic, CE, AAX

G8 Dynamic Gate v1.3.1 WiN

TEAM V.R | Oct 28 2017 | 4.51 MB

AAX VST VST3 x86 x64

G8 takes dynamic sound shaping to the next level. Deceptively simple, G8 is a tool that reaches far beyond what any normal noise gate can do. While it does a great job at the usual tasks of rejecting noise and shaping transients, the MIDI in/out and alternate gating modes offered by G8 open a world of possibilities that let you forget you’re even using a ‘Gate’.  Use G8 to create dynamic rhythm patterns on sustained sounds; trigger an envelope on G8 with MIDI input or use it to trigger notes on a MIDI instrument; produce interesting fractal sequences and auto-panning effects with Delay and Output Reject. With Cycle Mode and One-Shot, you can create dramatic motion with G8’s envelope, reducing the time value of the envelope to mere milliseconds, resulting in AM synthesis. The four-channel input in the Expert Mode of G8 allows for complex in-DAW routing of different levels and types of content. G8 can split the amplitude of a single source, allowing you to route two different characteristics of your sound to different tracks – the Mains and the Reject.

From transient shaping to trance gating to polyrhythmic beat slicing, G8 can add a whole new level of endless creative possibilities to your sound.

•‘Cycle’ gating mode gives you the ability to use G8 as a stutter effect, an AM/granular effect, or a tremolo
•‘One-shot’ gating mode allows for surgical transient shaping from any type of sound
•Custom MIDI in/out: trigger G8 with an instrument or extract grooves from an audio track to trigger an instrument with G8
•Route post-gate, ‘Reject Outputs’ to another track, or use ‘Flip’ mode to swap Reject Outputs with G8’s main output, essentially reversing the behavior of G8
•Four-channel analysis (sidechain) input; two internal and two external, each independently filtered and gain-controlled
•Precise triggering with Lookahead analysis
•RMS and Peak detection modes
•Variable reduction of gated signal allows for subtler processing
•Wet/Dry mix for parallel processing

G8 Dynamic Gate v1.3.1 AAX VST VST3 x86 x64 WiN CE-V.R

Lindell 354E v1.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Multiband Compressor, Multiband, Lindell, CE, Bridge, AAX, 354E

Lindell 354E v1.0 WiN

TEAM V.R | Oct 28 2017 | 12.5 MB

AAX VST VST3 x86 x64

The Lindell 354E is a multiband model of the most famous vintage diode bridge compressor, the Neve 2254E, precisely replicating its distinctive behavior and rich sonic character in each of its three bands. But in practical use, the 354E really is two compressors in one: Turn on its Nuke mode to radically shape individual tracks, and turn it off for lighter, more nuanced compression when mastering or for surgical mixing. Both modes yield the same lush coloration and smooth presence that made the 2254E one of the most revered and highly sought after compressors in the world. The 354E is one of the very best plugins you can use to compress drums, electric guitars, and rock vocals. Unlike its single-banded cousin, the 254E, three independent compression bands (Low, Mid and High), powerful Nuke mode, and Niveau and highpass sidechain filters let you dramatically reshape tracks for maximum size, punch and bottom-end weight. And with an adjustable attack time as fast as 2µsec (two millionths of a second), the 354E is one of the fastest compressors available, capable of shaping sounds in extreme ways most other compressors can only dream of.

•Faithfully models the most famous vintage diode bridge compressor, the Neve 2254E, in each of its three independent frequency bands
•Adjustable crossover frequencies between bands allow you to home in on where compression is needed most
•Ratios range, in five steps, from 1.5:1 for mastering and master-bus compression to as high as 6:1 for shaping individual tracks
•Switchable Nuke mode over-compresses tracks to dramatic effect
•Mid/Side mode focuses compression on mid or side channel—or in stereo—for surgical precision
•Highpass filter in sidechain lends greater punch to compressed drums, bass guitar and other bass-heavy instruments
•Switchable Niveau filter tilts sidechain’s frequency response to preserve bass energy—great for creating the killer API “thrust” compression effect
•Mix control provides instant parallel processing, especially useful for blending radically compressed signal with pristine dry input when compressing drums, adding density to rock guitars and more
•Bands can be linked and soloed
•Adjustable, wide-ranging attack and release controls include blazing-fast 2µsec attack time for radical compression and Auto release for artifact-free processing
•Optional auto-makeup gain for each band
•Three-way meter displays I/O and gain-reduction levels in turn
•Internal operating levels can be calibrated in nine 1dB steps for precise mastering applications
•Resizable user interface and up to 16x oversampling for digital precision in any environment

Lindell 354E v1.0 AAX VST VST3 x86 x64 WiN CE-V.R

dearVR pro v1.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, Warehouse, VST3, VST, Virtual Reality, V.R, staircase, Reverb, Pro, outdoor, dearVR, Church, Cellar, CE, booth, BINAURAL STEREO, Binaural, Bathroom, Arena, AAX, 3D binaural, 3D Audio, 2D Stereo

dearVR pro v1.0 WiN

TEAM V.R | Oct 28 2017 | 86.4 MB

AAX VST VST3 x86 x64

Dear Reality’s state-of-the-art algorithms have been a mainstay of 3D audio production for years. Now, for the first time, their spatial processing treasure chest has been made available in an all-in-one plugin for your DAW: dearVR pro. Say goodbye to expensive middleware, unwieldy software bundles and complex routing schemes. All the tools you need to create stunning, immersive 3D audio for virtual reality (VR) and augmented reality (AR) video, films and games are included in dearVR pro’s powerful yet fast and intuitive interface.

Two modes of operation let you choose how to work. Simply drag your mouse around using the plugin’s graphical XYZ pad to position a track’s sound anywhere in a 3D soundstage—behind or in front of the listener, above or below their head, to the left or right, closer or farther away. Or use separate sliders for adjusting the sound’s elevation, azimuth and distance from the listener. dearVR pro provides 46 vivid virtual acoustic environments, featuring true to life 3D imaging and depth, in which to place an object’s sound and move it around in real time. Among the many selections to choose from are concert halls, car interiors, variously sized rooms, and a church, cellar, staircase, bathroom, booth, warehouse, arena, outdoor street and live stage. Each environment is instantly and independently recallable per plugin instance, letting you place each object’s sound in a different space.

•State-of-the-art processing allows any multitrack session to be mixed in 3D, delivering a true to life immersive soundscape with binaural or Ambisonic playback
•No ancillary software or external routing is required—all processors are contained in a single plugin
•Position and move an object’s sound in real time in a virtual 3D environment using a graphical XYZ pad or separate sliders for adjusting the sound’s azimuth, elevation and distance to the listener
•Includes 46 vivid virtual acoustic environments to choose from, each independently recallable per plugin instance
•Controls for virtual environments adjust their size; damping; balance of early reflections and diffuse reverb; and distance of walls, ceiling and floor to listener
•Powerful Realtime Auralization mode continually changes the delay times and directions of arrival for early reflections as you move an object’s sound around in its virtual space
•Occlusion control realistically adjusts the sound of an object being blocked by another virtual object in line of sight to the listener
•Separate controls scale parameter ranges for azimuth and distance to maintain perfect sync between audio and corresponding virtual objects in motion
•Outputs audio in eight different formats: 2-channel binaural (for 3D playback using standard headphones); 4-channel first order, 9-channel second order and 16-channel third order Ambisonics •output in either AmbiX or Furse Malham (FuMA) format; and 2D stereo

dearVR pro v1.0 AAX VST VST3 x86 x64 WiN CE-V.R

Stage v1.0 AAX VST VST3 x86 x64 WiN CE V.R, x86 x64 windows vst3 plugins vst plugins aax plugins, x86, x64, Win, VST3, VST, V.R, Stereo Spatial, Stereo, Stage, Spatial, CE, AAX

Stage v1.0 WiN

TEAM V.R | Oct 28 2017 | 17.2 MB

AAX VST VST3 x86 x64

Stage – a plugin that uses trailblazing stereo-spatial processing methods to take good mixes and masters, and make them great. And The Stage Is Set! Simply put, stage is here to give your mixes that final shine and depth you’ve heard on countless records, drawing out an inherent character you might not have even known your sounds possessed. By leveraging subtle delays, internal phase augmentation and modulation techniques, you can now effortlessly emphasize the natural depth and space of any natural recording or synthesized element. The result is an increase in overall definition and perceived size – all elusive qualities that in the end contribute to a type of sonic weight that will quickly become indispensable to your audio toolkit. And just how is this possible? Under stage’s hood are mighty psychoacoustic algorithms that power the innovative panning and stereo alteration controls, giving engineers, sound designers, and electronic musicians the ability to sculpt their stereo image with minimal effort and maximum precision. Arrange your tracks from left to right, front to back or even diagonally if you like; enhance the ambience of your masters or go for wildly modulated effects. stage can do it all!

•Versatile acoustical enhancement for a large variety of sources – from single tracks to full mixes
•Remarkable stereophonic augmentation that expands the potential of internal M/S processing while increasing perceived depth, size and texture
•Input section, with stereo corrective tools like M/S blend and L/R tilt, easily and quickly changes the balance between mid, side, left and right information of the source material
•Pan section with two sophisticated algorithms that allow for accurate panoramic adjustment of mono and stereo sources
•Ambience section that facilitates subtle or extreme stereo width enhancement, tone coloration, and creative frequency modulation effects
•Perceptually optimized and source-dependent Colour module that features four intelligent filters for fine tuning the processed sound
•LFO module features two LFOs that can create anything from subtle motion to wild modulation effects
•GUI contains a virtual soundstage to intuitively visualize and adjust all spatial parameters
•An innovative routing system that allows for the wet and dry signals to be monitored either in tandem or separately

Stage v1.0 AAX VST VST3 x86 x64 WiN CE-V.R

Cyclone v1.0.1 AU AAX VST VST3 x86 x64 WiN MAC, windows vst plugins macos plugins au for mac aax plugins, x86, x64, Win, VST3, VST, P2P, MAC, Cyclone, AU, AAX

Cyclone v1.0.1 WiN MAC

P2P | 29.10.2017 | WiN+MAC: 24 MB


The Cyclone was born… A compressor diverse enough to glue sub groups, add groove to percussion, warm up synths and guitars, and add the final touch of magic at the mastering stage. Also our algorithm and code are so precise and specific to the task at hand, that the Cyclone is super light on your CPU, meaning you can run multiple instances with ease. The Cyclone interface has been designed for ease of use, with the controls laid out from left to right in a typical order that most engineers will follow when making adjustments, enabling you to speed up your workflow.

The saturation is tape style soft clipping with 100% stereo linking, when applied equally to both channels. This preserves the stereo image making the Cyclone perfect for mastering. The intensity of the saturation is dependent on the threshold and ratio of the compressor, or to the potential gain reduction of the compressor, with the saturation knob itself being responsible for mixing in the saturation. As the saturation effect is dependent on the compressors threshold and ratio settings. This means that the harder the ratio and threshold parameters are pushed, the more pronounced the saturation effect will be. You can then use the saturation control to dial in a value that works with your mix. When the saturation parameter is set to zero, there will be no saturation. Conversely when the parameter is set to full, the maximum saturation will be added based on the positioning of the threshold and ratio controls. In addition, the saturation is smoothed out in a way it mimics “tape hysterisis”.

Mid/Side Processing
The Mid/Side functionality of the Cyclone allows you to process the stereo information independently from the mono information. This is useful when a mixdown requires a wider feel to the stereo image, or the mid (mono) information greater definition from the sides, to achieve a better result during playback on mono sound systems. The Mid/Side function is perfect for adding additional sparkle to a well mixed track, and also gives the user great control to correct any irregularities in the stereo image.

Solo Channel
When creating the Cyclone, we realised that a solo function much the same as you will find in your DAW, is actually much more useful when making changes than a simple bypass button, although a anti click global bypass parameter has been added to the unit as well. The solo buttons will allow you to singularly monitor the left or right side channel whilst you are in Stereo mode, or monitor the mid information or the side information independently when in Mid/Side mode. This results in a quicker, more precise work flow when compressing the mix.

Channel Linking
The channel linking is set up as default when the plugin is first opened which makes the editing process quicker. If however you unlink the channels and make amends, but then later decide to link the channels, the first control amended will cause the opposite side control to reflect the changes. Many compressors will make a direct copy from left to right when the channel link button is pressed. When linking is set up in this way, it provides a very rigid user experience, with users often finding they lose the settings they wanted to keep.

Our intelligent linking system makes linked editing much more flexible and intuitive for the user.

The gain reduction caused by the compression will be equal in both channels if the settings are the same, whether the controls are linked or not. This prevents the center of the stereo image moving around if the signals differ from each other. That being said, if you apply different settings to the two channels, the gain reduction will be different, but because of the hidden stereo linking function, the center of the stereo image will move in a predictable and controlled manner, which is essential when mastering.

Cyclone v1.0.1 AU AAX VST VST3 x86 x64 WiN MAC


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