Slate MO-TT - dynamics ...

1.237,-

For years, producers have turned to the legendary OTT setting in Ableton to add life and drama to their tracks. Now get that exact sound with MO-TT, our new dynamics processor that adds fire and energy to your tracks like never before. MO-TT, 'MOre than oTT', is the first true recreation of the iconic OTT Preset in Ableton’s Multiband Dynamics processor—a sound quickly prized by producers to make tracks sound brighter, fuller, and larger than life. But the original OTT suffered from several limitations. It took a lot of work to customize your sound, and you could only use it in Ableton. Until now. A ONE-TO-ONE REPRODUCTION OF OTT Our engineers studied OTT obsessively, teasing out every sonic characteristic until they fully captured its legendary sound. We figured out why other attempts to recreate OTT were never able to capture its elusive lightning in a bottle. And then we went even further by adding new ways for producers to shape their sound. ALL NEW FEATURES Want that classic OTT sound? Or massive, demonic low end? What about adding vast, spacious presence to vocals? Use Quick Set Modes to instantly dial in the sound you want: OTT, Hip-Hop, or Vox. Adjust finely the behavior of the dynamics and transients by flipping through Classic, Smooth, or Smack Timing Styles. And tweak your sound as much as you want without ever breaking the preset thanks to Global Macros. LIBERATE YOUR TONE You’re no longer limited to simply controlling the overall amount of the effect: MO-TT lets you dial in the amount of compression for each frequency band. And you can shape your mix to perfection thanks to the additional High Pass and Low Pass bands.

Slate Murda Melodies - ...

1.850,-

Twist, shift, mangle & more—Murda Melodies does unspeakable things to your track. Legendary producer Murda Beatz has worked with some of the biggest acts in Hip-Hop, including Drake, Travis Scott, & Migos. We partnered with Murda on a revolutionary new multi-FX plugin that offers producers access to endless sonic landscapes. THE ULTIMATE MANGLER Twist, shift, mangle & more—​​Murda Melodies does unspeakable things to your track, transforming it in ways you can’t imagine. Transform stock sounds into insane, unrecognizable tracks. The same fire Murda creates in audiences around the world is captured in this incredible new plugin. 8 PLUGINS IN ONE The heart of Murda Melodies is in its 8 effects knobs, covering modulation, reverb, synced delays, reverses & more. And each knob interacts with the rest, leading into some truly mind-bending sonic landscapes. PRO PRESETS BY MURDA Easily sculpt your sound to perfection, with over 50 jaw-dropping custom presets made by Murda and our sound designers to get you up & running fast. SHIFT HAPPENS Change the pitch of your track over a whopping 4 octaves with a built-in pitch shifter, and for crunchy lofi beats, introduce gorgeous nonlinear artifacts with Pitch Jitter. Set the balance between shifted vs original pitch to dial in exactly the sound you need.

Slate Repeater Delay

612,-

23 emulations of classic delay machines REPEATER DELAY The delay is one of the most fundamental effects used in audio production, as it can add depth, space, excitement, and vibe to your mixes. Over the past fifty years there have been many different kinds of delays, from oil cans and tape machines to digital units, and each one has its own unique character and sound. So when it came time to create a delay plugin, we knew which delay unit we needed to model: ALL OF THEM! Repeater Delay features 23 authentic emulations of classic delay machines ranging from classic oil cans and tape machines to vintage digital designs – it’s packed with sounds and new features that will add depth to your mixes, and it comes with a user interface that’s immediately easy to understand and tweak. Multiple Delay Personalities Repeater’s 23 delay models offer you a versatile delay palette, as well as some amazing special effects like authentic pitch, telephone, and vintage tape tones. Whether you want a bold echo, a subtle wide space or a classic tape slapback, Repeater Delay has you covered. You’ll be able to find the right delay for the right situation, every time. Spread The Stereo Image Repeater’s SPREAD option can help you easily create wide stereo delays with the touch of a button. Just choose your delay note or ms value, and then SPREAD can automatically deviate the delay lines by either 10ms or 20ms, as well as automatically panning the delays left and right. SPREAD can help you utilize Repeater’s delay tones to make complex soundscapes. Add Color To Your Delays Repeater Delay makes it easy to move your delay repeats forward or bury them in the mix using the Color control, which can act like an upper-midrange filter. You can customize your delay with hi and low pass filters, and the plugin also utilizes an input saturation section before the delay engine, so a wide variety of warm saturations is easy to achieve. Analog-Modeled Feedback Circuit Engaging the Analog button sends all of the repeats back through analog-modeled circuitry to further enhance the gradual dimming and degrading of the sound as the decays die off. The Analog button makes the delay tones “melt” into the mix, and it sounds incredible on vocals and guitars!

Slate VBC Dynamics Processing

1.850,-

3 unique-sounding dynamic processors VIRTUAL BUSS COMPRESSORS Virtual Buss Compressors is a suite of three unique-sounding dynamic processors that are modeled from some of the most classic mix buss compressors in the audio industry. Careful attention was paid to recreating the unique nonlinearities of the circuit paths that give each compressor its distinct tone – including their transformers, tubes, VCA’s, amplifiers, phase distortions, harmonic distortions and timing. VBC is perfect for adding a professional final touch to your mixes. FG-RED This compressor is based on the classic RED-faced compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago. I thought it was odd actually: here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you’ve heard Chris’s mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). The first thing I did was put it on my mix in the settings that Chris showed me… 1.5:1, attack around 10/11 o’clock, auto release, compressing just 2-3db tops. And…. WOW! One of the clearest, punchiest sounding rock mixes I’d ever heard come out of my own speakers. This unit was amazing!!! When Fabrice and I analyzed the RED, we found out that it was indeed a very unique beast. The attack and auto-release work in an interesting way and are very musical, but the real magic we found was in the output section! We found that just pushing the makeup gain a few db did some insane things to the sound! A little push and things got a ton more punchy, fat, and aggressive. After more examination, we realized that this was due to a series of nonlinear reactions caused by the output transformer. Howie Weinberg, the famous mastering engineer who has a studio on our campus, let us in on a little secret: He uses his RED not for compression, but just to use the output gain to get that amazing effect! So I decided to do something that the original unit cannot…I put that output transformer effect on a knob called DRIVE. When you push the DRIVE knob, you get a beautiful punch and articulation of the transients, and you can control just how much you want, regardless of whether or not you use the makeup gain! Famous rock mixer Justin Netbank beta tested the FG-RED and loves the drive, suggesting ‘6.6’ as the magic number. But you can try cranking it all the way for an interesting effect! FG-GREY The FG-GREY starts off with a very precise model of the classic British “4000 series console compressor”. I’ve used the hardware model for many years but I never fully appreciated just how magnificent the piece is until studying it during the modeling process. It has a way of being able to tighten and ‘gel’ the components of a mix in ways that can go from fairly transparent in auto-release mode, to very aggressive in manual mode. We did a small mod to the circuit in our virtual model which I think you’ll really enjoy. We took the classic British discrete transformer and added some of its characteristics to the signal path. This does something amazing to the clarity of the midrange and bottom end, where the hardware unit tends to start sucking out too much bottom as you start to compress more. The hardware unit can also get slightly ‘choked’ in the mids as well, but our virtual transformer stage keeps the bottom big and round and the midrange more open, while still retaining the classic sound of the original unit. You’ll notice that there is a bit less of a drop in the bottom and the rich mids will still be nice and present when you heavily compress with the FG-GREY – I love it in both manual and auto mode, and it’s amazing on drums and guitars too! FG-MU I’ve been lucky enough to hear and use some of the most classic and hard-to-find tube buss compressors on the planet (like the Fairchild 670 and Manley Vari Mu), and let me tell you, there is some real magic that happens when your mix goes through a brilliantly-designed piece of tube gear. The midrange thickens, the lows get tighter and rounder, and the top end opens up with a beautiful sparkle… even better, those harsh upper mid overtones seems to get tamed too. For the FG-MU, we put all of these wonderful qualities into the algorithm. To experience FG-MU for the first time you don’t even have to do any compression, as just going through the processor without any gain reduction will reveal a beautiful open sound due to the modeling of the tube circuit path. Even when I’m using the FG-GREY or FG-RED, I love using the VBC Rack just so I can have the audio pass through the FG-MU! But the FG-MU is an amazing-sounding compressor in its own right. If you scan through the presets, you’ll get a great idea of what its capable of. Smooth rich compression, fat warm compression, and even slightly aggressive compression. Overall, this is a processor that has tons of analog mojo and vibe for days. A sure hit on your ITB mixes! THE NON-LINEAR DIFFERENCE During the development of the Virtual Buss Compressors, I spoke to many top pros in the audio industry about mix buss plugin compressors. There seemed to be an overwhelming consensus that even though many of them were advertised as ‘analog modeled’, they still didn’t have the classic sound of analog compressors. So Fabrice and I got to work – and the first task was examining the hardware compressors and the current crop of analog modeled plugin emulations to see what was going on! And what we found was surprising: the classic analog compressors that we studied added some very complex nonlinear artifacts in their signal paths. Their sound was not simply based on their specific compression topology like timing and compression curves, some of them also had modulations, dynamic harmonic distortions, dynamic phase distortion, saturation, crosstalk, and more. And just like in our Virtual Console Collection plug-in, these artifacts added a sonic imprint to the compression. Was this the magic sound that made the plug-in compressors sound different than the analog compressors? There was only one way to find out. We had to precisely model it. All of it! Several months later, we had algorithms that combined the exact compressor topologies, curves, timings, as well as the circuit’s nonlinear dynamic artifacts. We were able to bypass JUST the artifacts, and the answer was very clear: much of the magic tone that has been missing from many plug-in compressors lies in these nonlinear additives. When you hear the three VBC compressors, you’ll notice a depth, life, and analog ‘vibe’ that you’ve likely not heard before in a plugin compressor. I hope that you enjoy it on your mixes!

Slate VCC Console emulation

1.237,-

Emulation of 6 classic recording console VIRTUAL CONSOLE COLLECTION There is a reason why many top hits continue to be mixed on analog consoles – much like tape machines, the top large-format analog consoles have a sound and a vibe that has been impossible to achieve in the world of computer recording… until now. The Virtual Console Collection allows your DAW to take on the personality of a real analog mixing desk, improving the imaging and depth and making instruments sit better in the frequency spectrum. Mixing becomes easier and more musical, and you can even push the DAW faders up to find each mixer’s “sweet spot”. Large-Format Authenticity The behavior of an analog console is immensely complex, because the individual channels contribute different things sonically than the summing busses do, and the number of individual channels in use matters to the overall sound of the desk. To accurately emulate all of this complexity, the Virtual Console Collection consists of two separate plugins – the Virtual Channel and Virtual Mixbuss – both of which allow the user to choose from one of six analog console emulations. Virtual Channel is applied on individual mixing channels in your DAW, and Virtual Mixbuss is intended to be placed on the first insert of the master fader. Choose The Best Console For Your Mix Virtual Console Collection contains emulations of six classic inline recording consoles, including the most sought-after models from Britain and the US. These emulations are sonically indistinguishable from the original desks they model, so your mixes will come together quicker, feel more even and exciting, and require less work than ever before. Easier Auditioning To make Virtual Console Collection easier to use, up to eight separate control groups can be created in your mixing session, allowing you to manipulate multiple channels from any module assigned to the same group. It’s a snap to audition different console emulations across multiple tracks in order to select the right one for your mix, as well as bypassing all group members to A/B as well.

Slate VPC Virtual Preamp ...

612,-

Emulation of FG-73/76 Mic Preamp Two vintage analog preamps, now available in your DAW VIRTUAL PREAMP COLLECTION The Slate Digital VIRTUAL PREAMP COLLECTION brings the authentic tone of two of the audio industry’s most classic microphone preamplifiers to your DAW. Each preamp uses state-of-the-art analog modeling technology to recreate every aspect of the preamp circuit, from mild coloration to full-on saturation and distortion. The VPC was originally designed to be used on tracks recorded with the Virtual Microphone System’s VMS-ONE Ultra Linear Microphone Preamp, but it can be used after any clean sounding preamp to add extra vibe. VPC can also add real analog preamp tone to any track or mix, and even create rich-sounding distortion effects when pushed hard. FG-73 The FG-73 preamp module is modeled after one of the most famous discrete solid state preamps in the industry, made in Britain and used on countless recordings. It has a bold, present and warm sound that works great on any audio source – even full mixes. FG-76 The FG-76 preamp module is modeled after a vintage German tube preamp that has been used on many classic recordings. It has a thick and colorful tone that can make tracks and mixes sound more ‘alive’. The bottom-end saturates in a very unique and musical way, making it a great module for bass guitar and kick drum tracks.

Soundsation SCEGR Kasse for ...

1.495,-

Soundsation SCEGR. Rektangulært etui av plywood for elgitar, kledd i svart galon, plysjforet. • Material: wood + outer PVC. • Inner padding. • Inner pocket. • Handle. • Metal lock (with key). • Colour: black. Dimensions (inner): 105.5 × 33 × 8cm. • Suitable for Strat, RG, RC, S, incl.7 & 8 str.

Sugar Bytes Aparillo - ...

1.290,-

The Cinematic Machine Aparillo is an advanced 16-voice FM synthesizer, tailored for majestic sonic motions. A clever arrangement of synthesis, wave shaping, filtering, FX and modulation unfolds into a serious sound design tool for epic sonic creation. Make sure to check out the Orbiter, a mass-controller for immediate, instant blockbuster sounding themes. Key Features FM Synthesizer with 16 Voices Formant Shifting, Wave Folding & Shifting Multi-Mode Filter with Spacializer 2 interdependent LFOs with S+H and Gravitation Orbiter for one-touch Sound Morphing 500 handpicked Presets Wide Modulation Options from 10 sources NKS support for Komplete Kontrol and Maschine

Sugar Bytes Cyclop - Twisted ...

1.290,-

Dubstep Wobble Bass Super Synth Cyclop has landed Monophonic, raw and unbelievably versatile. Cyclop is packed with tools for the bass of the future and beyond. Wobble Knob, FX Sequencer and a hilariously versatile sound engine will give you endless joy. Key Features Monophonic Setup 6x2 Synthesizer, incl. Sample Transformer & Phase Stressor 10x2 Filter, incl. Vowel Mode FX Sequencer Deep Modulation System Effective Preset Cloud Browser Free Signal Flow Wobble Generator! Oscillators: Everything starts here... Saw Regiment | Analogue | FM | Transformer | Spectromat | Phase Stressor Cyclop derives its power from the two sound generators. Spectral, digital, fat analog or use your own samples as a wavetable. These beasts do one thing very well: delivering cutting-edge digital madness at the low end of the frequency spectrum.

Sugar Bytes Factory - Liquid ...

1.690,-

2x10 Oscillator Engine Ployphonic Synth Taste the Power of the Liquid Modular Modular Synthesizer for complex and organic sounds. Choose from the most particular synthesis methods, let yourself be charmed by the Matrix and morph between the most improbable variations of your sound. Four sequencers are pulling the strings behind the curtain. Factory is polyphonic supersonics! Key Features Poly Synth with Mod-Matrix and Sequencers 2x10 Oscillator Engines Sub-Oscillator with Ringmodulation Noise Generator with 5 colors 8x10 Mod Matrix with 36 targets Morph Fader, 2 States & Copy/Paste Sample & Hold Modul 8-voice VA-Sync, Wavetable, Waveguide & Fractal Synthesis Vibrant, raw and spectacular Evolve your sound with minimal effort! The 2 oscillators are the tonal ore and each of their 10 different modes is an instrument in its own right. Besides non-aliasing VA-Sync and fractal oscillators, we actually tackled wavetable, waveguide and FM. We also lifted Cyclop's complex Transformer tool and made it polyphonic: Feed your samples to the oscillators! Factory opens up new paths to creative sound design – so it’s more than simply another instrument. Generative and durable sounds are child’s play, as well as the direct bass to the beat. Here’s a first video on the oscillators by Tom Cosm:

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