PreAMPed is an audio plugin that recreates many of the qualities of analog preamplifiers. This includes subtle EQ response curves, low- and high- frequency saturation, differences between left and right signals, crosstalk, noise, transformer/coil impulse response, and saturation and EQ changes due to gain changes.
AudioSpeed is an audio playback processing application that allows you to hear your audio file at different speeds without altering the pitch, or with the pitch altered without changing the speed. Or a combination of both. Great for learning difficult notes in a musical sequence. You can set an adjustable section of the audio to loop at whatever playback speed you want and easily follow what is happening, without having pitch changes. AudioSpeed also works with video files. AudioSpeed is available now at the Mac App Store for Mac OS X 10.6 and 10.7.
Loop editor is a simple audio loop editor. Designed in Cocoa from magesy download the ground up, Loop Editor proudly takes advantage of Quartz, CoreAudio, and other solid OS X interface features. Loop Editor supports all audio file formats that support loop markers, including every type of looping available for any given format. Loop Editor is one of the only applications available that manages multiple loop makers (within files that support multiple loops).
MorphVOX Mac will change your voice online and in-game on your Macintosh® computer. Take your voice-changing to a new level with superior voice-learning technology, background cancellation, and sound quality. Download free voice and sound packs adding hundreds of new voices and sounds to MorphVOX Mac. Tweak each of these voices to your heart’s content to produce many voice combinations. Try out the “Backgrounds” feature which lets you add any background sound while you talk. Fool your friends: sound like you’re in the middle of a traffic jam or shopping at the mall. Superb voice changing algorithms and ultra-quiet background cancellation make it one of the cleanest-sounding voice changers available on the market. Its high-quality sound is perfect for creating voice-overs for your latest video or audio project.
A giant has returned to life. Oberheim’s legendary SEM – Synthesizer Expander Module – is back for the first time as a high-end software emulation powered by Arturia’s exclusive TAE® technology. Faithfully reproducing the warm Oberheim SEM tone, the Oberheim SEM V is also polyphonic, with a full array of innovative sonic features. Favored by top artists and producers such as Goldfrapp, Herbie Hancock and even John Carpenter for its fatness and unique harmonic spectrum, the Oberheim sound is an absolute must have for your studio.
Loved and coveted by sound engineers all over the world for its super huge bass and its silky shiny treble, the PE 1C is Tube-Techs clone of the famous Pultec tube-driven passive equalizer. It does things no other equalizer can, and when you start twisting the knobs you will find it’s more versatile than it may appear at first. We think the sound from magesy download this equalizer is the reason why some people started spelling “fat” with “ph” when describing a sound. The PE 1C will give you the most thunderous and solid low end on the planet, and in addition to that, a treble that is so silky and sweet you just want to cuddle into it.
Easy-to-use EQ that sounds absolutely amazing! You’ll love what Softube’s Tonelux Tilt EQ plug-in does for your tracks. Developed jointly between Softube and Tonelux’s Paul Wolff, the Tonelux EQ brings an outstanding analog EQ to life, inside your DAW! Use this plug-in’s impressive Tonelux Tilt control to maintain your track’s or mix’s perceived loudness, even after substantial tone shaping. Put its highpass and lowpass filters to work. You’ll be blown away by the Tonelux Tilt EQ’s modeled output transformer, which imparts the same subtle distortion as the real thing. It will warm up that low end and add rich character to your tracks. You also get a special version of the Tonelux Tilt EQ, which is optimized for live systems. What an amazing value!
J37 tape saturation plugin, a precision model of the very machine used to record many of the greatest masterpieces in modern music. With a variety of user-adjustable controls including Tape Speed, Bias, Noise, Saturation, Wow and Flutter, the J37 faithfully recreates the inimitable sonic signature of the original machine. In addition to the J37 itself, three exclusive oxide tape formulas have been modeled. Specially developed by E M I during the ‘60s and ‘70s, each formula has its own unique frequency response and harmonic distortion behavior. In order to push the envelope even further, a comprehensive Tape Delay unit has been added to complement those warm tones.
The museq plugin makes our musical equalizer come alive on your DAW. It has all the original sound and functions the hardware is known and loved for, including the outstanding high/low cut filters with resonance and the Warm Mode sound shaper. The plugin even adds some powerful extras, like the integrated M/S matrix for mid and side processing, the possibility to link both magesypro audio channels for more convenient stereo operation, and dedicated output level controllers for adapting your settings to the available headroom. The license includes two plugins in one: The full fledged Master version with all the bells and whistles and a slightly reduced Mix version for quick and easy settings, supporting PC and Mac in 32 and 64 bits and AAX Native, RTAS, AS, VST2.4, VST3, and AU. So here it is – the digital version of a very flexible and musical sounding EQ with an extremely powerful feature set, shining on any kind of audio material you throw at it.
We took a journey back to the Golden Age of magnetic tape recording. We wanted to recreate all kinds of tape machines in software, from magesy download the ground up. After many months spent on research, measurement and on developing an architecture that would be flexible enough for the job, we knew we had nailed it… But we couldn’t stop there: We added the old noise-reduction systems that were often (mis)used for timbral compression effects. Then more heads and a global feedback path, which made an uber-tape-delay and realistic ‘one-shot’ tape flanging possible.
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