Plug-ins Under $250 | VintageKing.com

API Audio
Neve
Barefoot Sound
Shadow Hills Industries
Retro Instruments
Waves Audio
Coles Microphones
Endless Analog Clasp

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Results 1-20 of 25

Plug-ins Under $250

Antares SYBIL Evo
Variable frequency de-esser
This product is fulfilled via electronic download and requires iLok authorization. For more information, give us a call at 248.591.9276

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Celemony Melodyne Assistant is
the most affordable point of entry into the incomparable world of
Melodyne. Correct and optimize monophonic or rhythmic audio material in
the manner only Melodyne allows. Perfect the intonation and timing via
macro or in a more targeted way by hand. Transpose, move or erase
notes, alter their volume and formant spectra, or copy them to another
location. Quickly to Hand Melodyne
assistant operates directly within your audio workstation. You hear all
edits in the context of the other tracks of your project and can use as
many instances as you wish and your computer will allow. And for the
swift editing of a sample between times, you can open Melodyne
assistant in stand-alone mode without having to start up your audio
workstation first. Open For Upgrades Melodyne
assistant offers you a great deal of usefulness for very little money.
And this investment makes still more sense if you wish to upgrade to
Melodyne editor (also polyphonic material) or Melodyne studio
(multi-track) at a later date. Attractive upgrade options are available
to both. So you can't lose by entering here. The small step to Melodyne
assistant could become a giant leap in the future.

Celemony Melodyne Assistant
Single-track Melodyne editing environment for monophonic and rhythmic complex audio material

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The Flux Pure Compressor II produces a wide range of compression from ultra clean subtle compression to classic heavy pumping. It’s up to your artistic choice not to the technology's limitations. New functions have been added to the original Pure Compressor. External side chain inputs are now available. New dynamic detection algorithms are available. The MS Width control manages stereo signals. A Hold parameter and a Threshold for Hysteresis, complement the settings. Classic modes and Feedback modes are now available for signal level detection, completing the legacy Solera mode. Various new profiles can be selected for detecting the dynamics of the signal. A Maximum mode can be engaged on the Hysteresis control, allowing processing that takes into account maximum values of both the standard and the Hysteresis detection schemes. Our exclusive A / B morphing system, allows instant and efficient global control of processing. The preset manager allows you to save global presets made up of two different presets including the A / B morphing slider position. Note also that factory presets are provided for every plug-in. Pure Compressor II manages digital audio up to 384 KHz, and up to 8 channels. This is the native version of the plug-in for AU, RTAS and VST.

Flux Pure Compressor II - Native
Full Range Compressor Plugin
This purchase is fulfilled via electronic delivery. You will receive an email with an authorization code and download instructions after your purchase has been processed. This product requires iLok authorization. For more information, give us a call at 248.591.9276.

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The McDSP 4030 Retro Compressor 
is a new dynamic range control topology coupled with a wet/dry mix 
control to balance compressed and uncompressed signals.  An active 
attack and release design allows aggressive compression settings with 
minimal artifact generation. 
 
All Retro plug-ins use a McDSP designed output stage topology to 
eliminate digital clipping at any output level and produce a smoother 
distortion characteristic.  This feature is in addition to the analog 
saturation modeling that has made McDSP famous over the last decade. 
 
Retro plug-ins are a line of ‘classics’ that can live up to their own name without emulating something else. 
 
Features 
<ul><li>Unique original algorithms with transparent yet vintage sound</li><li>Mix control</li><li>Side chain support</li><li>Anti-Clip Output Stage Topology</li><li>Analog Saturation Modeling</li><li>Double Precision Processing</li><li>Ultra Low Latency</li><li>Mono and Stereo versions</li></ul>
Retro Pack includes: 
<ul><li>4020 Retro EQ</li><li>4030 Retro Compressor</li><li>4040 Retro Limiter</li><li>Pre-programmed McDSP green iLok</li></ul>

McDSP 4030 Retro Compressor Native v5
Vintage compressor plug-in with wet/dry mix control
Electronic Delivery

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Put a million-dollar console into your DAW’s mixer! 
Metric Halo’s ChannelStrip has 
been an integral part of the sound of Myriad  Grammy-award winning, Gold
 and Platinum records, hit TV shows and blockbuster movies. The first 
plug-in to bring classic large format console-style ChannelStrip 
processing to Pro Tools TDM, ChannelStrip has been the critical tool for
 getting “the sound” for thousands of professional recording engineers, 
composers and musicans world-wide. 
 
ChannelStrip includes over 100 professionally constructed presets that 
are automatically installed with the plug-in that provide a wide variety
 of fix-its and starting points for optimizing the sound of your 
individual channels and mixes. 
 
Ok. So now you know that ChannelStrip is the key to the “sound” of 
thousands of professional productions. You can check out the quotes and 
user stories on this page to see just some of the folks who won't work 
without it. But what is it? What will it really do for you? 
 
It’s all about the sound! 
The consistent feedback we get from ChannelStrip users is that it just 
makes everything that they run through it sound better. Equally at home 
on individual instruments and on the master bus, ChannelStrip will warm 
up your sound, clarify the details and make your production sound pro. 
 
How does ChannelStrip do this? It’s all about attention to detail. 
High-precision algorithms, careful attention to rounding and dither, and
 deep integration between all the critical processes. On the one hand, 
its all a bunch of technical mumbo-jumbo, but on the other hand, it has 
the effect of breathing life into your audio... from virtual instruments
 to real ones, processing vocals and complete tracks. 
 
ChannelStrip provides all the critical components of the channel strip 
of a large-format mixing console. The reason that large-format consoles 
(the classical “big iron” — SSL/Neve/Euphonix) include this kind of 
processing on each channel strip is that most signals benefit from the 
kind of interactive processing that all the elements of ChannelStrip 
provide together. 
 
The Basics 
ChannelStrip includes the following critical signal processors 
integrated together in one easy-to-use interface: 
<ul><li>Delay</li><li>Expander/Gate</li><li>Compressor</li><li>EQ (48-bit — the first on the platform!)</li></ul>
The integrated delay is useful for adjusting the relative timing of 
tracks; this is great if you are recording sources (like a guitar amp) 
with multiple microphones. While this feature can be critical in a 
professional environment, it is a bit on the technical side, and you may
 find that you never need to utilize it. But it is there if you need it! 
 
The Expander/Gate is a form of dynamics processing that is most useful 
for channels with real instruments or vocals; it provides an automatic 
gain-riding feature that effectively mutes the input or track when the 
audio level is too low. This is great when you have a noisy guitar amp 
or are recording a pod-cast and want to automatically mute out the 
rustling of papers and background noises. The Expander/Gate in 
ChannelStrip has a bunch of nice properties that make it really useful 
for maximizing the good part of a performance while cleaning up the 
unwanted noises. Another cool application for the Expander/Gate is its 
ability to change the rhythmic feel of a performance. 
 
The Compressor is the primary dynamics processing element in 
ChannelStrip. Similar to the Expander/Gate, it provides an automatic 
gain-riding feature, but instead of the gain changing when the signal is
 low, the compressor changes the gain when the signal level is high. By 
lowering the gain when the signal level is high, the compressor can even
 out the dynamics of a performance, pull low-level detail out of the 
sound, and even radically change the nature of the sound passing through
 it. The compressor has been compared (favorably!) with the bus 
compressor in the SSL mega-bucks mixing console — a processor that is 
much coveted for its ability to “fatten up” everything that passes 
through it. 
 
The EQ is, of course, the multiband equalizer. The EQ allows you to 
adjust the tonal balance and timbre of the signal passing through it. It
 is like a tone control on mega-steroids. The EQ in ChannelStrip is a 
6-band fully parameteric, extended range, double-precision processor. 
Again with the mumbo-jumbo. In the end, it means that whatever sound 
shaping you require is possible with the ChannelStrip EQ. The parametric
 bands of the EQ are capable of deep notches and steep resonant peaks. 
This allows you to do unique things with the EQ — like re-tuning drums 
after they have been recorded. Whether you use this on real instruments 
or virtual instruments, the EQ allows you to maximize your sound. 
 
The Not-So-Basics 
ChannelStrip provides all the basic sound-shaping tools you need. But it
 doesn’t stop there; ChannelStrip adds some critical advanced features 
that you may not find elsewhere. 
 
The most important advanced feature is the integration of equalized 
sidechains in both dynamics processors (the Expander/Gate and the 
Compressor). The equalized side-chain provides a fully-parametric 
equalizer in the side-chain of the dynamics processors, which allows you
 to tailor the response in a frequency sensitive way. This makes it 
possible, for example to make the compressor react more to the kick drum
 of a mix, or make the Expander/Gate that you put on a snare drum ignore
 the bleed from a hi-hat. This advanced feature makes the impossible 
possible and the difficult easy. 
 
Another advanced feature of ChannelStrip is the integration and 
routability of the processes. One thing that you quickly learn when 
shaping sounds for a mix, is that all the signal processing stages 
interact. When you change the EQ, you also need to change the 
Compressor. When you adjust the Gate it effects the proper settings for 
the Compressor too. Sometimes the sound you are looking for requires the
 Compressor to come before the EQ, and sometimes the sound is best 
served by EQ and then compression. The User Interface of ChannelStrip 
supports this interactive process by integrating all the controls for 
all the signal processors into one control surface. The routing control 
for the order of the signal flow through the Compressor and EQ is 
integrated directly into the UI, allowing you to compare the effect of 
switching the routing with a single mouse click. 
 
Perhaps the most important advanced feature of the ChannelStrip UI is 
that it provides detailed visual feedback about the effects of the 
processing applied. The UI includes detailed and accurate metering, and 
precise graphical representations of the transfer functions applied by 
each of the process blocks. The transfer functions show you, in detail, 
what changes will be applied to the signal by the EQ and the dynamics 
processors. Integrated metering in the dynamics transfer functions allow
 you to easily see the proper thresholds and other parameters to achieve
 the changes that you desire.

Metric Halo ChannelStrip - Native
Put a million-dollar console into your Pro Tools mixer!
Electronic Delivery Only

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The A.M.T Amp Leveling is a highly optimized look-ahead Brickwall Limiter and Level Maximization. The A.M.T Amp Leveler has been designed to be used for Mixing, Mastering, Tracking and Live use. Using a new proprietary algorithm ensuring a very smooth-warm sounding with maximum loudness and no digital-over-clipping as well as low CPU consumption for lightening-fast processing, the A.M.T Amp Leveler is nothing short of amazing. <ul><li>High quality signal processing algorithms</li><li>Look-ahead Peak Limiting and Loudness Maximizer</li><li>Input Threshold (Maximizer) variable from -20dB to +20dB</li><li>Out Ceiling variable from -20dB to +20dB</li><li>Recovery (Release Time) 5 settings</li><li>Full Automation for all parameters PC and Mac OS X</li><li>Easy-to-use vintage interface.</li><li>Windows XP / Vista32 and Mac OS X (Intel) supported</li><li>VST, AU and RTAS supported</li><li>24 bit / 192 kHz supported</li></ul>The A.M.T Max Warm is a highly optimized look-ahead Brickwall Limiter, Equalizer and Level Maximizer. What makes the A.M.T Max Warm process unique is the approach used for its dynamic signal analysis. Internally, the A.M.T Max Warm uses a special processing algorithm to accurately maximize the incoming signal level while limiting the ceiling peak levels. This approach tends to produce a more natural warm-sound, the A.M.T Max Warm also includes a two-band equalizer (Shelving/Peaking) with adjustable frequencies, making this plug-in an amazing advanced and versatile tool. <ul><li>High quality signal processing algorithms</li><li>Peak Limiting and Loudness Maximizing with Baxandall Equalizer (Shelving/Peaking).</li><li>Look-ahead Brickwall limiting</li><li>Low and High Shelving controls - Boost / Cut up to 12dB</li><li>Low Frequency variable from 60 Hz to 800 Hz (Shelving/Peaking)</li><li>High Frequency variable from 1.2 kHz to 16 kHz (Shelving/Peaking)</li><li>Input Threshold (Maximizer) variable from -20dB to +20dB</li><li>Out Ceiling variable from -20dB to +20dB</li><li>Limit Mode (Compression) 5 settings</li><li>Recovery (Release Time) from 10ms to 999ms</li><li>Full Automation for all parameters PC and Mac OS X</li><li>Easy-to-use vintage interface.</li><li>Windows XP / Vista32 and Mac OS X (Intel) supported</li><li>VST, AU and RTAS supported</li><li>24 bit / 192 kHz supported</li></ul> The A.M.T Multi Max multiband peak limiter is a highly optimized 3 band look-ahead Brickwall Limiter, and Level Maximizer. The A.M.T Multi Max uses a special processing algorithm to accurately split and maximize the incoming signal level while limiting the ceiling peak levels. This approach tends to produce a loud and clear natural warm-sound. The A.M.T Multi Max 3 band crossover with adjustable frequencies delivers sweet highs and punchy lows, making this plug-in an amazing advanced and powerful tool. When you need maximum sound with minimum latency and complete control, the choice is clear, use the A.M.T Multi Max plug-in. <ul><li>3-Band crossover high quality signal processing algorithms</li><li>Look-ahead Peak Limiting and Loudness Maximizer</li><li>Low, Mid and High bands gain controls - Boost / Cut up to 12dB per band</li><li>Input Threshold (Maximizer) variable from -20dB to +20dB</li><li>Out Ceiling variable from -20dB to +20dB</li><li>Limit Mode (Compression) 5 settings</li><li>Recovery (Release Time) 5 settings</li><li>Full Automation for all parameters PC and Mac OS X</li><li>Easy-to-use vintage interface.</li><li>Windows XP / Vista32 and Mac OS X (Intel) supported</li><li>VST, AU and RTAS supported</li><li>24 bit / 192 kHz supported</li></ul>

Nomad Factory Analog Mastering Tools
Three software tools to add the subtelty and character of tube gear to your mixes and masters

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The British MLC-2269 is a simple and elegant Master Compressor Limiter (MCL). The British MCL-2269
is the perfect choice for a truly "British-Style" vintage compression
sound by adding warmth and vintage compression to your music. <ul><li>Master Compressor Limiter (MLC) modeled from the legendary 2254 compressor</li><li>Input and Output level controls</li><li>Vintage Compressor section</li><li>Vintage Limiter Section</li><li>Phase reverse switch</li><li>Overload 'Clipper' softknee limiter</li><li>Vintage Gain Reduction VU Meters</li><li>Windows XP / Vista32 and Mac OS X (Intel & PPC) supported</li><li>VST, AU and RTAS supported</li><li>24 bit / 192 kHz supported</li></ul>The British "Nomad-EQ" NEQ-1972
is a simple and elegant “British-Style” four-band equalizer with a
lowpass and highpass ﬁlters. The NEQ-1972 provides ± 18 dB of gain and
switchable High-Q settings. The British "Nomad-EQ" NEQ-1972 is the perfect choice for a truly "British-Style" vintage EQ sound by adding an exceptional tone and character to your music. <ul><li>Vintage Equalizer modeled from the classic 1081 EQ module.</li><li>High Pass and Low Pass filters 24 dB/octave</li><li>4-band equalizer with Frequency, Gain and Shapes controls</li><li>Boost / Cut up to 18 dB</li><li>Phase reverse switch</li><li>Vintage switch control</li><li>Modern Light Meters</li><li>Windows XP / Vista32 and Mac OS X (Intel & PPC) supported</li><li>VST, AU and RTAS supported</li><li>24 bit / 192 kHz supported</li></ul> 
 <img src="http://vintageking.com/site/files/images/spacer.gif" height="20" width="1"> 
 
 
		 
 
 Original Manufacturers Description

Nomad Factory British Bundle
Two plug-ins designed to digitally recreate the classic British console sound

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The Nomad Factory Magnetic is a Reel-to-Reel Audio Tape Warming effect that gives your tracks the elusive vintage tape sound which your ears crave. This effect can inject sterile audio with the warmth and character of classic tube circuitry and analog tape saturation. The plug-in features pure analog reel-to-reel tape speeds, tape/tube saturation and tape color effects, as well as a dedicated vintage style EQ and a built in Boost mastering section. The result is a creamy, warm sound that can only be achieved by Magnetic. Never before has such a great sounding plug-in effect been so easy to use! At first touch, the plug-in’s interface is modern, simple, and extremely user-friendly which instantly allows you to dial in usable sounds. Magnetic can be used in many different musical ways. Try using it on individual tracks to add subtle warmth and tape color to your drums or use it to create a filtered cassette AM-radio effect on a vocal. But that’s not all… when used on the master bus, Magnetic can warm your entire mix and “boost” it up to broadcast level. It’s just like having a 30+ year old reel-to-reel tape machine at your fingertips, without all the maintenance costs. Features <ul><li>Reel speed controls the speed of the virtual tape machine. Higher speeds give you more studio-quality fidelity; lower speeds sound more like a cassette tape. The DASH setting gives you the highest-fidelity of digital audio tape predominately used in the 80’s and 90’s.</li><li>Saturation gives different levels of tube and/or tape saturation effects. Recreates the warmth and character of classic tube circuitry and analog tape saturation.</li><li>Tape color provides the highly sought-after sound of Natural, Vintage and Modern Tape Compression.</li><li>Lows controls the amount of low frequency equalization. Select the boost/cut frequency range with the Body, Warm, and Lush Settings.</li><li>Highs control the amount of high frequency equalization. Select the boost/cut frequency range with the Detail, Focus and Brilliance Settings.</li><li>Boost switches on/off the built-in Mastering Limiter section. This incorporates multiple stages of limiting and a look-ahead brickwall limiter to deliver first-class peak reduction. Adjust the Gain and Ceiling Knobs to achieve High-Resolution Limiting.</li><li>Gain sets the threshold for the incoming signal. Higher settings result in a louder sound.</li><li>Ceiling sets the brickwall output level so that it limits all peaks above the number it is set to.</li><li>VU Meter shows the amount of limiting taken place when the Boost circuit is engaged.</li><li>Power bypasses the entire unit</li></ul>

Nomad Factory Magnetic
Reel-to-reel audio tape warmer plug-in

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The Lexicon PSP 42 is a
high-quality digital stereo delay and phrase sampler plug-in based on the legendary Lexicon PCM
42 processor famous for its distinctive sound and unique concept.
Lexicon PSP 42 has been carefully designed to accurately reproduce the
flexibility and warmth of this renowned classic. This has been
accomplished by incorporating precise tape saturation algorithm and a
delay line operating with variable sampling rate which simulates
physical properties of vintage tape machine delays. The plug-in has
been designed with consideration to preserve maximum signal quality at
every processing stage. 
 
The Lexicon PSP 42 is capable of generating wide variety of delay-based
effects ranging from tempo-locked feedback delay with high frequency
absorption and tape saturation to flanging and phasing effects. A
flexible modulation section for continuous delay time and pitch control
allows the user to add subtle animation or swing to the processed
signal as well as to create unpredictable, alien sounds when pushed to
its limits. The freely adjustable delay line sampling frequency makes
Lexicon PSP 42 a good tool for creating low-fi effects that sound
smooth thanks to the superior characteristics of employed interpolation
algorithm. Close attention has been paid to make the unit operate
without audible clicks or pops. 
 
PSP is the sole developer and manufacturer of the Lexicon PSP 42.
Functionality and sound of the Lexicon PSP 42 have been approved by
Lexicon. PSP is responsible for all customer support. 
 
The Lexicon PSP 42 Features: 
<ul><li>High quality signal processing algorithms,</li><li>Up to 9600 ms of delay time depending on internal sampling frequency,</li><li>Continuous control of delay time,</li><li>Tight synchronization to the host tempo and its changes,</li><li>Tape saturation simulation based on the algorithm used in the line of our mastering processors,</li><li>Low pass filter for high frequency absorption modeling,</li><li>Modulation section with three different modulation signal sources (sinus, square, envelope detector) mixed in any proportions,</li><li>Phrase sampler capability,</li><li>Parameter filtration and on-the-fly cross-fades for smooth and click-free operation,</li><li>Support for sampling rates of up to 192kHz,</li><li>MIDI and VST automation,</li><li>Logic Control support.</li><li>Library of presets </li></ul>
 
Applications: 
 
The Lexicon PSP 42 is primarily intended for processing individual
tracks within a mix. It can be productively used to add superior
sounding delay-based effects to solo instruments and vocals as well as
to simulate vintage delay with tape saturation, high frequency
absorption and variable tape speed. Tempo locking and handy modulation
section make Lexicon PSP 42 an essential tool for experimenting with
drum loops and other rhythmic patterns. Variable delay line sampling
rate allows to generate good sounding low-fi effects as well as
out-of-this-world sounds. Short delay times, pitch modulation and phase
inverters reveal Lexicon PSP 42 potentials as a source of vibrant
modulation effects such as flanger and doubler. Last but not least
Lexicon PSP 42 is a simple ring reverb for a denser output. 
 
Minimum system requirements: 
 
Windows XP with ServicePack 2 or later 
<ul><li>VST or RTAS compatible host application</li><li>ProTools TDM/LE 7.3 or later for running RTAS</li><li>256 MB RAM</li><li>Pentium III 600 MHz</li><li>High Color S-VGA, 1024x768 </li></ul>
 
MacOS X 10.4.0 or later 
<ul><li>IntelMac or PowerPC G4 or G5</li><li>512 MB RAM</li><li>AudioUnit, VST or RTAS compatible host application</li><li>ProTools TDM/LE 7.3 or later for running RTAS </li></ul>
 
MacOS 8.5 
<ul><li>VST or RTAS compatible host application</li><li>256 MB RAM</li><li>G3 300 Mhz</li><li>High Color S-VGA, 1024x768</li></ul>

PSP Lexicon PSP 42
Digital stereo delay and phrase sampler based on the legendary Lexicon PCM 42 - sound and functionality approved by Lexicon
Electronic Delivery Only

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Analog saturation has long been the magic mojo that engineers have used 
as their swiss army knife of mixing. It's used on drums, bass, vocals 
guitars, everything. It can be used to beef things up, thin things out, 
give them some edge, fry them up nice, add a bit of warmth, pull things 
out of the mix, or even create a signature sound. Subtle to extreme, 
analog saturation is the golden child of great mixes. That's why we took
 our time, bought and listened to all the great analog classics, and 
painstakingly created that magic for you in SoundToys Decapitator. 
 
Analog Feel 
Decapitator is more than just an emulation of the analog sound. It has 
the analog feel. You can hear the subtle changes reacting to the track, 
following the dynamics of the instrument. That's what analog is all 
about. Not a static snapshot (no convolution here) but a changing 
responsive model of all those tubes and wires (and careful notes), and 
transistors. The sound of real gear, but with the flexibility of 
software. Our modeled tone control lets you shape and contour, and our 
mix control lets you mix back in the dry signal without the need for 
routing and submixes. The best of both worlds. 
 
The Models 
In our lab we gathered so much cool analog gear. From preamps to 
compressors. From tape machines to EQ's. Vintage gear and modern gear. 
All of it so we could listen to how the sound changed and moved and 
created its special vibe. We picked some of the models that had the most
 distinct sounds, the models that had a flavor both subtle and extreme, 
and made them instantly accessible on the front panel. By adding analog 
modeled tone control we increased the sonic possibilities far beyond 
many of the originals and give you a remarkably flexible "analog" 
palette to create with. 
 
Bad Boy 
Because we know that audio is not always nice, we've included a 
convenient way to make sure it's not nice. Our "Punish" button kicks in 
another chuck of gain to push it over the edge. This tool let's you 
drive hard and responds just like its analog counterpart. It screams in 
pain. Not your standard stomp-box distortion, Decapitator gives you 
those unique qualities that only come from driving high end studio gear.
 Listen to how each model has its own sound of beautiful agony when you 
hit the "Punish" button and crank it up.

SoundToys Decapitator - Native
Analog Saturation Modeler
Electronic Delivery Only

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SoundToys Tremolator emulates the tremolo effect of classic guitar amps such as the Fender, and even the great tremolo sound of the Wurlitzer electric piano. Add dynamic control of speed and depth that lets the tremolo respond to the music. Then toss in MIDI sync to lock to your tempo. Oh, yeah, then there's our programmable Rhythm Editor that let's you write custom patterns and turns this amazing tremolo into a outrageous rhythmic auto-gate. Vintage guitar effect and modern remix tool at your service. Tremolo of Old Gear heads that we are, we broke out the test gear and analyzed the waveforms created by some of our favorite old gear. Then we used our custom LFO waveshape editor built into Tremolator to perfectly recreate them. It's very interesting to look at these shapes and see why each of these vintage pieces has a unique sound. Pass that through our Analog mode, which emulates going in and out of a piece of analog hardware, and you've got all the pieces of a great sounding tremolo.. Chop Shop: Auto-Gate Mania Switch the nice smooth tremolo waveforms over to a sharp squarewave and you turn this into a monster of an auto-gate. You can lock it to MIDI with the flip of a switch, then select 1/8th notes, 16th notes or whatever fits the rhythm you need. If straight note pulses isn't what you need, use the Rhythm Editor to write your own cool groove (You can even pull a groove from our library). More? Add some swing or shuffle, accents, and analog mode. You can even use the Waveshape Editor to tighten or loosen the gate time. Get Dynamic In the Tweak menu you'll find the Dynamics controls. These parameters let your playing control the speed and/or depth of the modulation. You can create cool speed ups or slow downs based on how loud or soft you play. You can create smooth increases in depth as your cords fade out, or heavy tremolo that fades away. Plus there are already some great presets in our Dynamics folder that you can "tweak" to fit your needs.

SoundToys Tremolator - Native
Tremolo and Auto-Gate Plug-in
Electronic Delivery Only

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The URS 1970 Classic Console Compressor features digital recreation of transformer input and diode bridge gain reduction amplifier characteristics. 
Smooth and warm!
 
High Res 48 bit "Double Precision" processing 
The URS Classic Console Compressors TDM versions feature Hi Resolution 48-bit TDM and 64-bit RTAS 
"Double Precision" processing for increased clarity, headroom and unparalleled gain reduction. Hi Resolution "Double Precision" processing helps to avoid internal clipping in the Digital Domain. 
 
Independent Compressor and Limiter sections 
The Compressor and Limiter sections are totally independent of each other. Both feature separate variable Attack, Release and Threshold controls. 
 
Built in Internal Side Chain Filtering 
The Internal Side Chain High and Low Pass Filters fine tune how narrow or "Broad Band" the URS Classic Console Compressor will affect the program material. Both Filters completely overlap to dial in problem frequencies.
 
Listen Key 
The Listen Key is after the Filters section. The Listen Key allows you to monitor the signal being sent to the Gain Reduction detection circuit. 
 
Signal Flow explained 
The URS Classic Console Compressors signal flow inserts the Gain Makeup control before the final Limiter. This is the secret to how hard you can hit the final "Brick Wall" Limiter. The URS Classic Console Compressors utilize Feed-back gain sensing. Feed-back gain sensing gives Compression and Limiting a servo type of control. See the detailed signal flow diagram below.
 
Classic Sound with Modern Features 
The URS Classic Console Compressor adds other powerful modern features such as totally variable Compression Ratios, Attack and Release times. 
 
Two Different Plug-ins 
Two different URS 1970 Classic Console Compressor plug-ins are included in this bundle. 
 
The 1970 version includes : 
• Compressor/ Limiter / Side Chain version 
• Compressor only version 
 
The 1970 Compressor /Limiter / Side chain version has a "Brick Wall Limiter to smooth out the most difficult musical tracks. The 1970 Compressor /Limiter / Side chain version is well suited for Drum Sub Groups, Aux sends (TDM versions) and especially on the Mix Bus. 
 
The 1970 Compressor only version is 3x more DSP efficient. The Compressor only version is very well suited on general instruments, such as vocals, guitars, bass and individual drums. The 1970 Compressor Only version will act as a Limiter when the ratio is set at 10:1 and above.

URS 1970 Classic Console Compressor - Native On sale!
Classic Console Compressor Plug-in
This product requires iLok authorization. For more information, give us a call at 248.591.9276

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The URS 1980 Classic Console Compressor features digital recreation of the IC input and voltage controlled gain reduction amplifier (VCA) characteristics. Snappy and aggressive!

High Res 48 bit "Double Precision" processing 
The URS Classic Console Compressors TDM versions feature Hi Resolution 48-bit TDM and 64-bit RTAS 
"Double Precision" processing for increased clarity, headroom and unparalleled gain reduction. Hi Resolution "Double Precision" processing helps to avoid internal clipping in the Digital Domain.

Independent Compressor and Limiter sections 
The Compressor and Limiter sections are totally independent of each other. Both feature separate variable Attack, Release and Threshold controls. 

Built in Internal Side Chain Filtering 
The Internal Side Chain High and Low Pass Filters fine tune how narrow or "Broad Band" the URS Classic Console Compressor will affect the program material. Both Filters completely overlap to dial in problem frequencies.

Listen Key 
The Listen Key is after the Filters section. The Listen Key allows you to monitor the signal being sent to the Gain Reduction detection circuit. 

Signal Flow explained 
The URS Classic Console Compressors signal flow inserts the Gain Makeup control before the final Limiter. This is the secret to how hard you can hit the final "Brick Wall" Limiter. The URS Classic Console Compressors utilize Feed-back gain sensing. Feed-back gain sensing gives Compression and Limiting a servo type of control. See the detailed signal flow diagram below.

Classic Sound with Modern Features 
The URS Classic Console Compressor adds other powerful modern features such as totally variable Compression Ratios, Attack and Release times. 

Two Different Plug-ins 
Two different URS 1980 Classic Console Compressor plug-ins are included in this bundle. 

The 1980 version includes :<ul>
<li>Compressor/ Limiter / Side Chain version 
</li><li> Compressor only version 
</li></ul>
The 1980 Compressor /Limiter / Side chain version has a modern "Brick Wall Limiter that was not found on the vintage unit. The 1980 Compressor /Limiter / Side chain version is also well suited for drum Sub groups, Aux sends (TDM versions) and highly recommended especially on the Mix Bus. 

The 1980 Compressor only version is also 3x more DSP efficient. The 1980 Compressor Only version will act as a Limiter when the ratio is set at 10:1 and above

URS 1980 Classic Console Compressor - Native On sale!
Classic Console Compressor Plug-in
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The URS Classic Console Strip is our "Go To" solution for quick adjustments on individual tracks. 
We have selected our favorite algorithms for the Compressor and EQ sections. 
Easy to use! Powerful Results!
The URS Classic Console Strip is Super DSP efficient 
<ul>
 <li> TDM - 12 instances per HD Accel chip and 5 instances per HD chip @44.1/48k, 
 </li><li> Native - 48 instances 1024 samples at 30% CPU on a Mac G5 Quad 2ghz. </li></ul>

The URS Classic Console Strip Compressor digitally recreates characteristics of a transformer input and a specially designed feed forward 1975 VCA gain reduction amplifier The Compressor features fully adjustable Threshold, Ratio and Gain Makeup with three preset Attack and Release settings. Warm and Aggressive!
 
The URS Classic Console Strip EQ section features a three band EQ digitally recreated from three different analog consoles. We selected the critical frequencies for today's Hip Hop, R&B and Rock. Bass Drum, Snare, Guitar, Bass, Piano, Organ, Strings, Brass and Vocals jump out in the mix with quick EQ adjustment. The LF and HF EQ bands each offer three different frequencies. The Mid range EQ band is fully sweepable with selectable Sharp or Wide "Q" bandwidth. 
 
High Res 48-bit "Double Precision" processing 
The URS Classic Console Strip TDM features 48-bit Double Precision Processing and URS Classic Console Strip Native features 64-bit "Double Precision" floating processing for increased clarity and headroom with unparalleled gain reduction. Hi Resolution "Double Precision" processing helps to avoid internal clipping in the Digital Domain. 
 
Independent Compressor and EQ sections 
The Compressor and EQ sections are totally independent of each other featuring separate In/Out switching. The Compressor section is selectable between Pre/Post the EQ section.
 
Easy Eight 
We call the URS Classic Console Strip the "Easy Eight". The URS Classic Console Strip's eight knobs map perfectly to the Command 8, Digi002, ProjectMix I/O, ProControl, HUI and other popular controllers allowing for quick adjustments on individual tracks. The eight knobs map to Page table 1 and all other functions map to Page table 2.
 
46 Preset starting points 
We have included 46 Preset starting points for individual instruments, vocals and sub mixes.
 
Compact Screen Design saves valuable screen space!
 
Features
<ul>
 <li> Pro Tools 8.x and Leopard OSX 10.5.x compatibility
 </li><li> Pro Tools 7.4.x and Leopard OSX 10.5.x compatibility
 </li><li> Pro Tools 8.x and Tiger OSX 10.4.x compatibility
 </li><li> Pro Tools 7.x.x and Tiger OSX 10.4.x compatibility
 </li><li> Pro Tools 6.9.2 and Tiger OSX 10.4.x compatibility
 </li><li> Pro Tools 6.9.2 and Panther OSX 10.3.9 compatibility 
 </li><li> Pro Tools 6.7 and Panther OSX 10.3.9 compatibility 
 </li><li> Pro Tools 6.2.3 and Jaguar 10.2.8 compatibility 
 </li><li> Pro Tools 7.x.x M-Powered version compatibility
 </li><li> Full Windows XP support! 
 </li><li> Full Pro Tools TDM support for Pro Tools|HD Accel, Pro Tools|HD and Pro Tools 24|MIX systems 
 </li><li> Full 192 kHz support for TDM, RTAS and AudioSuite versions 
 </li><li> Full ProControl, Control|24, Command|8 and Digi 002 support 
 </li><li> Full ICON Console Control Surface support — including center section Dynamics panel 
 </li><li> Supports Mbox, Digi 001, Digi 002, Digi 002 Rack, Pro Tools|24 MIX, Pro Tools|HD and Pro Tools|HD Accel and M-Audio Interfaces.
 </li><li> Audio Units support for Logic Pro 8.x thru 6.x, Digital Performer 6.x thru 4.x, Bias Peak 6.x thru 4.x, Abelton Live 7.x through 6.x, Final Cut Pro and more! 
 </li><li> VST support for Mac and PC Cubase, Nuendo, Sonar, Abelton Live, Acid, Sound Forge, Reaper, Wavelab, Bias Peak and more!</li></ul>

URS Classic Console Strip EQ + Compressor - Native
Classic Channel Strip Plug-In
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When it was originally introduced in the mid-1970s, the Aphex Aural 
Exciter® brought its distinctive sound to select sessions by leading 
recording artists, traveling from studio to studio as an exclusive (and 
expensive) rental unit. 
 
A true ground-breaker, the original Aural Exciter was highly regarded 
for its ability to increase and enhance presence, brightness, and 
vibrancy on vocal and instrumental tracks alike. It was even credited as
 a "session player" on best-selling albums by the likes of Jackson 
Browne, Linda Ronstadt and James Taylor, engineered by Val Garay, who 
worked closely with us on the development of the plugin. 
 
Modeled on one of only a few tube-powered units ever made, the Waves Aphex Vintage Aural Exciter plug-in delivers all the unique character of the rare original hardware unit, with all the advantages of software. 
 
Features 
<ul><li>Faithful model of the rare tube-powered original</li><li>Adds brightness, vibrancy and depth</li><li>Increases presence without raising levels</li><li>Perfect for vocal and instrumental tracks alike</li><li>Mix and AX modes for insert or send configurations</li><li>Mono and stereo components</li><li>Up to 24bit/192kHz resolution</li><li>Supports TDM, RTAS, Audio Suite, VST, AU</li><li>PC and Mac compatible</li></ul>
Controls 
<ul><li>Mode selects the processing mode: MIX1, MIX2, AX</li><li>Meter selects VU meter view options</li><li>Input controls input gain</li><li>Ax Mix controls the amount of AX (aural excitement) added to the original signal</li><li>Output controls output gain</li><li>Mains controls analog characteristics caused by hum, based on the power supplies of the original units</li><li>Noise controls the level of the modeled analog noise</li></ul>

Waves Aphex Vintage Aural Exciter - Native
Dynamics plug-in developed in association with Aphex
This purchase is fulfilled via electronic delivery. You will receive an email with an authorization code and download instructions after your purchase has been processed. This product requires iLok authorization. For more information, give us a call at 248.591.9276.

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Waves Bass Rider is an innovative, easy-to-use plugin that rides bass levels automatically. A companion to our popular Vocal Rider plugin, Bass Rider delivers perfect bass levels, without changing the natural sound of your bass. Optimized especially for the frequency range and envelope characteristics of bass instruments, Bass Rider covers all the basses: DI, amplified, acoustic, synth, upright—you name it. A real time-saver with dedicated studio and live components, Bass Rider keeps bass levels in check and solid throughout your mix. Unlike a compressor, Bass Rider works note by note, without disturbing their inner dynamics, so they sustain and decay naturally. Best of all, since Bass Rider keeps your levels steady with automatic gain adjustment, now you can focus on the feel and flow of your bass—and use compression to add color and character. With Bass Rider, you’ll never mix bass the same way again. Features <ul><li>Rides bass levels automatically</li><li>Optimized for bass instruments</li><li>Retains the natural character of the bass</li><li>Dedicated studio and live components</li><li>Up to 24bit 192kHz resolution</li><li>Mono and Stereo components</li><li>Supports RTAS, Audio Suite, VST, AU</li><li>PC and Mac compatible</li></ul> Controls <ul><li>Target Energy Meter shows the energy of the input signal.</li><li>Target Slider sets the desired bass level range and calibrates the Rider Fader “0” position.</li><li>Sensitivity controls the note detector sensitivity.</li><li>Response controls the note detector response.</li><li>Spill controls the amount of spill that the detector should ignore.</li><li>Artifacts controls the note detector’s tolerance to artifacts. </li><li>Max Range sets the upper boundary of the Rider Fader movement. </li><li>Min Range sets the lower boundary of the Rider Fader movement.</li><li>Rider Fader is Bass Rider’s automatic fader control.</li><li>Output trims the vocal output gain, post-auto riding.</li><li>Idle Arrow sets the Rider Fader value when there is no bass activity.</li><li>Effective Range displays the total gain range available for automatic riding.</li></ul>

Waves Bass Rider - Native
Innovative, easy-to-use plugin that rides bass levels automatically

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<div style="color: rgb(0, 0, 0);">For years, the C4 has been a favorite of studio engineers the world 
over, and in live sound, it's quickly become a must-have for 
front-of-house and monitor professionals as well. To create the C6, we 
took the tried-and-true functions of the C4, and added two additional 
floating bands plus a side-chain feature, for one-stop vocal and 
instrument shaping. Equally at home in the studio, live, and in post 
production, the C6 lets you zero in on problem frequencies with surgical
 precision.
 Perfect for de-essing and de-popping in the studio or 
onstage, the C6 gives you all the multiband compression and dynamic 
equalization you need to control, tame, and shape your sound. Features: 
 
 
 <ul><li>Internal/external side-chain per band</li><li>Individual band listen mode</li><li>Four crossover bands plus two floating bands</li><li>Dynamic EQ, compression & expansion</li><li>Double precision bit resolution processing</li><li>ARC™ Auto Release Control</li><li>Up to 24bit, 192kHz resolution </li><li>Mono and stereo components</li><li>Supports TDM, RTAS, Audio Suite, VST, AU</li><li>PC and Mac compatible</li></ul></div>

Waves C6 Multiband Compressor - Native
Six-bands of compression and dynamic equalization with side-chain
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They call him Lord of the Mix. 
 
For over 20 years, Chris Lord-Alge
 has been the mixing engineer of choice for rock & roll royalty. 
 
Green Day, U2, Nickelback, Creed, Nine Inch Nails, Foo Fighters, Goo Goo
 Dolls, Alanis Morissette, Daughtry, Bon Jovi, Avril Lavigne, Snow 
Patrol, Hoobastank, Lifehouse, Sum 41, Pink, Dave Matthews Band, All 
American Rejects, My Chemical Romance, Santana, AFI, Rise Against, 
P.O.D., Paramore, The Calling, Fastball and countless others. 
 
The Waves Chris Lord-Alge Artist 
Signature Collection gives you an all-access pass 
to CLA’s hard-hitting, radio-ready sound. 
 
Featuring 
<ul><li>Complete all-in-one processing chains</li><li>Mono-to-stereo and
 stereo components</li><li>Optimized control ranges</li><li>24bit/96kHz 
resolution</li><li>Supports RTAS, Audio Suite, VST, AU</li><li>PC and 
Mac compatible</li></ul>
 
Chris Lord-Alge on CLA Bass 
"From sub-shaking smooth sounds to Mr. Buzzsaw, CLA Bass is just what 
the doctor ordered. The plug-in was designed to help you lay down a 
solid foundation for any song. It gives you six essential effects: bass,
 treble, compression, sub, distortion, and chorus/flange. Whether you 
want it to rip, roar, growl, bark, or cut, CLA Bass delivers." 
 
Controls 
<ul><li>Input Sensitivity is 
used to achieve optimal plug-in input level.</li><li>Input Meter displays input signal peak
 level.</li><li>Balance adjusts 
the offset between left and right signals. (Stereo
 component only)</li><li>Sensitivity 
LED indicates the presence of proper levels.</li><li>Bass controls low frequency gain.</li><li>Bass Color toggles between low 
frequency filters.</li><li>Treble
 controls high frequency gain.</li><li>Treble
 Color toggles between high frequency filters.</li><li>Compress controls the dynamic range.</li><li>Compress Color toggles between 
compression characters.</li><li>Sub
 enhances very low frequencies.</li><li>Sub
 Color turns sub enhancement on/off.</li><li>Distortion controls the amount of 
distortion.</li><li>Distortion Color
 toggles between different distortion types.</li><li>Pitch controls the pitch modulation 
wet mix.</li><li>Pitch Color 
toggles between pitch modulation types.</li><li>Output controls the output level.</li><li>Output Meter displays output signal 
peak level.</li><li>Clip LEDs 
light up when levels exceed 0 dBFS.</li></ul>
 
Chris Lord-Alge on CLA Drums 
"One of my favorite activities is to work on drums. When creating the 
CLA Drums plug-in, I had one thing in mind: Anyone who uses it can get a
 great drum sound for any song and any mix and just have fun! There are 
six different modes: Kick, Snare, Toms, Overheads, Room and, of course, 
my favorite, Cowbell. There are three color-coded presets for bass EQ, 
treble EQ, compression, and reverb, plus a noise gate so you can even 
get rid of leakage. The faders let you control the amount of each effect
 and, especially important for drums, we’ve included a phase switch so 
you can find the best setting for the kit." 
 
Controls 
<ul><li>Drum Mode toggles 
between the six drum/mic’ing types: Kick, Snare,
 Toms, Cowbell (cymbals, hi-hats & bells), Over Heads, Room</li><li>Input Sensitivity is used to achieve 
optimal plug-in input level.</li><li>Input
 Meter displays input signal peak level.</li><li>Balance adjusts the offset between 
left and right signals. (Stereo
 component only)</li><li>Sensitivity
 LED indicates the presence of proper levels.</li><li>Phase Switch engages input phase 
reversal.</li><li>Bass controls 
low frequency gain.</li><li>Bass Color
 toggles between low frequency filters.</li><li>Treble controls high frequency gain.</li><li>Treble Color toggles between high 
frequency filters.</li><li>Compress
 controls the dynamics range.</li><li>Compress
 Color toggles different compression characters.</li><li>Reverb controls the reverb wet mix.</li><li>Reverb Color toggles between reverb 
environments.</li><li>Gate 
controls the gate threshold. (Not available in Cowbell mode)</li><li>Gate Color toggles between gating 
shapes. (Not available in 
Cowbell mode)</li><li>Delay
 controls the delay wet mix. (Cowbell 
mode only)</li><li>Delay Color
 toggles delay times and character. (Cowbell
 mode only)</li><li>Output controls
 the output level.</li><li>Output Meter
 displays output signal peak level.</li><li>Clip LEDs light up when levels exceed 0 dBFS.</li></ul>
 
Chris Lord-Alge on CLA Effects 
"CLA Effects does it all. Filtered vocal? Check. Telephone FX? Check. 
John Lennon "I Am the Walrus" vocal distortion? Check and double check. 
Multiple delays with tape phasing? You got it. Reverb, tape slap, and 
long echo all at once? Yes, yes, and yes. One of my favorite features is
 the echo throw section: Hit the throw button and add long delays to 
just the words you want, with one click! And to top it all off, all 
tempos are matched to the session BPM, cutting out all the guesswork." 
 
Controls 
<ul><li>Input Sensitivity is 
used to achieve optimal plug-in input level.</li><li>Input Meter displays input signal peak
 level.</li><li>Balance adjusts 
the offset between left and right signals. (Stereo
 component only)</li><li>Sensitivity
 LED indicates the presence of proper levels.</li><li>Send Long Delay un-mutes the send to 
the Long Delay.</li><li>EQ 
controls the high frequency shelf filter.</li><li>EQ Color toggles between different 
filter effects.</li><li>Distortion
 controls the amount of distortion in the wet mix.</li><li>Distortion Color toggles between 
different distortion characters.</li><li>Reverb controls the reverb wet mix.</li><li>Reverb Color toggles between reverb 
environments.</li><li>Short Delay
 controls the delay wet mix.</li><li>Short
 Delay Color toggles delay times and characters. (Syncs to 
session BPM, Slap excluded)</li><li>Long Delay controls the delay wet mix.</li><li>Long Delay Color toggles between delay
 times and characters. 
(Syncs to session BPM)</li><li>Pitch controls the pitch modulation 
wet mix.</li><li>Pitch Color 
toggles between pitch modulation types.</li><li>Direct controls unprocessed signal 
throughput, determining whether
 or not the dry signal is combined with the processed output.</li><li>Output controls the output level.</li><li>Output Meter displays output signal 
peak level.</li><li>Clip LED 
lights up when levels exceed 0 dBFS. </li></ul>
 
Chris Lord-Alge on CLA Vocals 
"The most important part of any song is the vocals. The CLA Vocals 
plug-in makes this part of mixing an absolute joy. I have taken the very
 best settings which I use in my everyday mixes and crafted them into 
this chain. It works great on all styles of singers and, best of all, 
they will want that sound every time! You also get three flavors of the 
top six effects you need: the right amount of bass, treble, compression,
 reverb, delay, and chorusing/doubling." 
 
Controls 
<ul><li>Input Sensitivity is 
used to achieve optimal plug-in input level.</li><li>Input Meter displays input signal peak
 level.</li><li>Balance adjusts 
the offset between left and right signals. (Stereo
 component only)</li><li>Sensitivity
 LED indicates the presence of proper levels.</li><li>Bass controls low frequency gain.</li><li>Bass Color toggles between low 
frequency filters.</li><li>Treble
 controls high frequency gain.</li><li>Treble
 Color toggles between high frequency filters.</li><li>Compress controls the dynamic range.</li><li>Compress Color toggles between 
compression characters.</li><li>Reverb
 controls the reverb wet mix.</li><li>Reverb
 Color toggles between reverb environments.</li><li>Delay controls the delay wet mix.</li><li>Delay Color toggles between delay 
times and characters. (Syncs to 
session BPM)</li><li>Pitch
 controls the pitch modulation wet mix.</li><li>Pitch Color toggles between pitch 
modulation types.</li><li>Output
 controls the output level.</li><li>Output
 Meter displays output signal peak level.</li><li>Clip LEDs light up when levels exceed 0
 dBFS.</li></ul>
 
Chris Lord-Alge on CLA Guitars 
"Two words describe the CLA Guitars plug-in: Instant Gratification. 
Every time I plug in my axe, I just can’t stop playing! It delivers the 
guitar sounds I’ve used on tracks from Green Day to Daughtry, quickly 
and easily. It’s like a guitar toolbox with all the necessary 
combinations. The plug-in features three modes—Clean, Crunch, and 
Heavy—with DI and Re-amping modes for each. You get three color-coded 
presets for the six most important effects, for the perfect blend of 
bass, treble, compression, reverb, delay, and chorusing/doubling." 
 
Controls 
<ul><li>Guitar Mode toggles 
between guitar modes: Clean, Crunch, Heavy, 
Bypass.</li><li>Re-Amplify 
engages a modeled guitar amp, tailored for the current 
guitar mode.</li><li>Input Sensitivity
 is used to achieve optimal plug-in input level.</li><li>Input Meter displays input signal peak
 level.</li><li>Balance adjusts 
the offset between left and right signals. (Stereo
 component only)</li><li>Sensitivity 
LED indicates the presence of proper levels.</li><li>Bass controls low frequency gain.</li><li>Bass Color toggles between low 
frequency filters.</li><li>Treble
 controls high frequency gain.</li><li>Treble
 Color toggles between high frequency filters.</li><li>Compress controls the dynamic range.</li><li>Compress Color toggles between 
compression characters.</li><li>Reverb
 controls the reverb wet mix.</li><li>Reverb
 Color toggles reverb types.</li><li>Delay controls the delay wet mix.</li><li>Delay Color toggles between delay 
times and characters. (Syncs to 
session BPM)</li><li>Pitch 
controls the pitch modulation wet mix.</li><li>Pitch Color toggles between pitch modulation types.</li><li>Output controls the output level.</li><li>Output Meter displays output signal 
peak level.</li><li>Clip LEDs 
light up when levels exceed 0 dBFS.</li></ul>
 
Chris Lord-Alge on CLA Unplugged 
"CLA Unplugged is a dream box of reverb effects plus great hi-res EQ and
 compression for complex sounds. I always loved the Aerosmith "Dream On"
 vocal reverb with the really long pre-delay. And I wanted a plug-in 
that you could also put on strings, piano, acoustic guitars, and nylon 
guitar solos. This plug-in was designed to give you limitless reverb and
 delay possibilities, and the smoothest EQ curve around." 
 
Controls 
<ul><li>Input Sensitivity is 
used to achieve optimal plug-in input level.</li><li>Input Meter displays input signal peak
 level.</li><li>Balance adjusts 
the offset between left and right signals. (Stereo
 component only)</li><li>Sensitivity 
LED indicates the presence of proper levels.</li><li>Bass controls low frequency gain.</li><li>Bass Color toggles between low 
frequency filters.</li><li>Treble
 controls high frequency gain.</li><li>Treble
 Color toggles between high frequency filters.</li><li>Compress controls the dynamic range.</li><li>Compress Color toggles between 
compression characters.</li><li>Reverb 1
 controls reverb 1 wet mix.</li><li>Reverb
 1 Color toggles between reverb environments.</li><li>Pre Delay 1 controls the pre-delay 
timing of Reverb 1. (Syncs to 
session BPM)</li><li>Pre Delay 1 On
 turns Reverb 1 pre-delay on or off.</li><li>Reverb 2 controls Reverb 2 wet mix.</li><li>Reverb 2 Color toggles between reverb 
environments.</li><li>Pre Delay 2
 controls the pre-delay timing of Reverb 2. (Syncs to 
session BPM)</li><li>Pre Delay 2 On
 turns Reverb 2 pre-delay on or off.</li><li>Delay controls the delay wet mix.</li><li>Delay Color toggles between delay 
times and characters. (Syncs to 
session BPM)</li><li>Direct 
controls unprocessed signal throughput, determining whether
 or not the dry signal is combined with the processed output.</li><li>Output controls the output level.</li><li>Clip LEDs light up when levels exceed
 0 dBFS.</li></ul>

Waves CLA Artist Signature Collection - Electronic Delivery
Six application-specific audio plug-ins, created in collaboration with Grammy-winning mixing engineer Chris Lord-Alge. Native only.
This product requires iLok authorization. For more information, give us a call at 248.591.9276

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Waves CLA-76 - Native
Compressor/Limiter Plugin Bundle
This product requires iLok authorization. For more information, give us a call at 248.591.9276

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When The Beatles recorded "All You Need Is Love", the man behind the board was Eddie Kramer. 
 
When Jimi Hendrix recorded "Purple Haze", the man behind the board was Eddie Kramer. 
 
When Led Zeppelin recorded "Whole Lotta Love", the man behind the board was Eddie Kramer. 
 
When you’re ready to make some music history of your own, get Eddie Kramer behind the board. 
 
Featuring 
<ul><li>Complete all-in-one processing chains</li><li>Mono-to-stereo and stereo components</li><li>Optimized control ranges</li><li>24bit/96kHz resolution</li><li>Supports RTAS, Audio Suite, VST, AU</li><li>PC and Mac compatible</li></ul>
 
Waves Eddie Kramer Collection Plugins 
<ul><li>Kramer Vocal Channel</li><li>Kramer Bass Channel</li><li>Kramer Drum Channel</li><li>Kramer Guitar Channel</li><li>Kramer Effects Channel</li></ul>
 
Eddie Kramer on the Vocal Channel 
"When mixing, there’s always a fight going on between the vocal and the
rest of the track. For me, what makes a good mix is when all the
elements combine seamlessly, complimenting one other. When we designed
the Vocal Channel plug-in, we did it in such a way that the user can
position the vocals within the mix, and then blend it back into the
track, without it popping out, in such a way that it retains all its
original clarity and presence." 
 
Vocal Channel features 2 flavors: 
<ul><li>Vocals 1, designed for classic rock vocals with a lot of dynamic range and intensity.</li><li>Vocals 2, for gentler vocal performances that stay at smoother, steadier levels.</li></ul>
Controls 
<ul><li>Type toggles between the 2 vocal types: Vocal 1, Vocal 2</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Bass controls low frequencies.</li><li>Treble controls high frequencies.</li><li>Compress controls amount of compression applied to the signal.</li><li>Output controls the output level.</li><li>FX controls the amount of signal sent to the effect.</li><li>Dly sets the delay time. (Vocal 1 only)</li><li>Dly Mix controls the amount of audible delay. (Vocal 1 only)</li><li>Verb Mix controls the relative level of the reverb.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul>
 
Eddie Kramer on the Bass Channel 
"The idea behind the Eddie Kramer Bass Channel was to create a fat bass
sound with a lot of presence, that cuts through without being
overbearing. In general, the low-mid frequencies are accentuated, so it
really pops on radio mixes. That way, you can always hear it clearly,
even at low volumes on small speakers. The Bass Channel comes in two
flavors: Bass1, which is less compressed, for a more dynamic sound that
has room to breathe, and Bass2, a more aggressive sound with increased
compression." 
 
Controls 
<ul><li>Type toggles between the 2 bass types: Bass1, Bass2.</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Bass controls low frequencies.</li><li>Treble controls high frequencies.</li><li>Compress controls the compressor intensity.</li><li>Output controls the output level.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul>
 
Eddie Kramer on the Drum Channel 
"The Drum Channel plug-in really captures the essence of my drum
sounds. Whether you’re trying to achieve a huge Zep-like sound with
loads of atmosphere, or are going for something more dry and
down-to-earth like the Stones, or need a heavily-compressed, squashed,
Hendrix-type sound, this is the plug-in that will get you there,
quickly and easily. Since there are individual modes for bass drums,
snares, and so on, you can really mix things up by creating your own
hybrid drum kits, using your favorite elements from each." 
 
Controls 
<ul><li>Type toggles between the 6 drum types: BD, SNR, HH, Toms, OH, Room.</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Compress controls dynamics.</li><li>Gate controls the gate threshold (available in BD only).</li><li>Treble controls high frequencies.</li><li>Bass controls low frequencies.</li><li>FX controls the effects send gain.</li><li>Output controls the output level.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul>
 
Eddie Kramer on the Guitar Channel 
"The Guitar Channel plug-in features settings for lead guitars and two types of rhythm guitars. 
 
When it comes to lead guitar, I want it to become a living, breathing
organism, creating a palpable sense of excitement within in the mix. By
combining the right amounts of EQ, compression, delay, reverb, and a
touch of flange, these 5 elements, working together, make it come alive. 
 
For rhythm guitar, I try to get it “in your face” as much as possible,
without over-processing the sound with EQ. By adjusting the amount of
compression, and not overdoing the amount of space, I make sure that
the guitar stays up front, where it belongs." 
 
Controls 
<ul><li>Guitar TypeType toggles between the 3 guitar types: Rhythm 1, Rhythm 2, Lead</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Compress controls guitar dynamics.</li><li>Treble controls high frequency range.</li><li>Mid controls midrange frequencies.</li><li>Output controls the output level.</li><li>FX controls the effects send gain.</li><li>Depth controls the flange effect depth.</li><li>Flange Mix controls flange effect mix. (Lead only)</li><li>Verb Mix controls the relative level of the reverb.</li><li>Dly sets the delay time.</li><li>Dly Mix controls the amount of audible delay.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul>
 
Eddie Kramer on the Effects Channel 
"For the Effects Channel plug-in, I set out to recreate some of
the basic elements that I use whenever I’m painting a sonic picture.
Over the years, these elements have evolved to suit a variety of
sources and styles, from whispering vocals to screaming guitars and
beyond. 
 
<ul><li>H-Slap is a shorter delay that emulates tape at 15 inches per second, with some EMT plate reverb at a medium setting.</li><li>Z-Slap is a longer delay (7 ½ inches per second) with a bit of feedback and a longer setting on the EMT plate.</li></ul>
Between the two, you’ll easily find the ideal setting for almost anything you can throw at it." 
 
Controls 
<ul><li>Type toggles between the 2 effect types: H-Slap, Z-Slap.</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Dly controls the time of the slap delay.</li><li>Dly Mix controls the mix or direct send to the slap delay.</li><li>Size controls the size and time of the reverb effect.</li><li>Brightness controls the High Frequency range of the reverb effect.</li><li>Verb Mix controls the amount of reverb mixed with the signal.</li><li>Output controls the output level.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul>

Waves Eddie Kramer Collection - Native
5 Application-Specific Audio Plug-ins Created in Collaboration with Eddie Kramer
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