Softube Passive-Active Pack v1.0.2 PC MAC

Teams: AiR / XVX | Date: 2010 | Size: 29,79 MB / 41,56 MB

VST RTAS AU

The Passive-Active Pack is a collection of three very different equalizers, each with its own character and quirks. The Passive and Active equalizers emulate real workhorse units, used on thousands of recordings from past to present. The Focusing Equalizer combines these with analog sounding saturation and a novel workflow. This collection includes three highly useable equalizer models that are unique to Softube. Here’s a brief overview, read more on their respective product pages.

Kuassa PreMix CM VST AU x86 x64 PC MAC

HY2ROG3N | FREEWARE | PC: 8.16 MB | MAC: 9.83 MB

PreMix CM’s overdrive circuit is based upon the classic 12AX7 tube preamp, and can provide a huge variety of saturation characteristics – fuzz, bite, crunch, scream and more! A three-band Baxandall EQ then broadly balances your signal’s frequency content for some musical tonal shifting.

Limiter One AU VST VST3 Plugin Limiter

CIS DSP Factory | PC MAC | 11.31 MB

CIS DSP Factory has released Limiter One, a simple freeware program dependent limiter effect for Windows and Mac.

LIMITER ONE is a program dependent Limiter for VST,VST3 and AudioUnits for Windows and Mac OS X. Very useful on Drums and acoustic guitars.

Limiter One is available for free download via CIS DSP Factory (11.3 MB download size, ZIP archive, 32-bit & 64-bit VST/AU plugin format for Windows & Mac).

u-he Zebra 2.6.0 Rev.1560 AU VST MAC OSX

iND | AU VST RTAS MAC OSX | READ NFO | 36.41 MB

Zebra is our wireless modular synthesizer. It combines many different types of synthesis with a powerful modulation engine. Imagine – you can create any additive, freehand or spline-based waveform you like, apply a vast selection of spectral effects, morph between those waves and send them through classic synth filters. Perhaps use that entire sound as modulator for an FM oscillator, or route it through a comb filter – the building block of physical modeling synthesis. All generator modules, all signal paths, all effects are stereo.

Arturia Jupiter-8V AU VSTi RTAS v2.5.2 WiN MAC

Team: AiR | Date: 04/2010 | Size: 73,37 MB

Back to the early 80’s, the Prophet 5 and Oberheim OB series dominated the polyphonic synthesizer market. Having that in mind the Jupiter-8’s success, initiated in 1981, took every one by storm. But what made the Jupiter-8 so successful? Well, in terms of sonic possibilities, it complemented its competition by bringing something different. The Jupiter-8 was capable of creating very versatile sounds. You could easily make ‘fat’ or ‘Crystal’ sounds with it. In fact, the Jupiter-8 sounded the way it looked, ‘sleek and polished’. The electro-pop community became quickly convinced by the qualities of the Jupiter-8.’Relax’, by Frankie Goes to Hollywood was produced incorporating a Jupiter 8, and players such as Vince Clarke, John Foxx, and Martyn Ware were also using it. The path to classic status of the Jupiter started there. Other artists that have used The Jupiter-8 include Tangerine Dream, Underworld, Jean Michel Jarre, Depeche Mode, Prince, Gary Wright, Adrian Lee, Heaven 17, Kitaro, Elvis Costello, Tears for Fears, Huey Lewis and the News, Journey, Devo,Freddy Fresh, Simple Minds, Jan Hammer and BT.

Audio Damage Replicant VST AU UB PC MAC

Team AiR-DYNAMiCS | 2007 | PC: 1.30 | MAC: 3.11 MB

Replicant is a delay-based effect in the “beat slicer/looper” vein, with some tricks of its own that separate it from the herd. From a simple delay or panning effect, on up to massive random beat mangling, Replicant is a capable plugin well in line with today’s modern electronic music styles. Stuttering buffers and filter drops are easy to program, and the comprehensive randomization features give it a mind of its own, if so desired. If you’re looking to add some chance to your programming, you’ve come to the right place.

Audio Damage Liquid VST AU UB 1.0.1 MAC

Team PDS | 2010 | MAC OSX | AU UB  | 4.67 MB

Liquid is an analog-style through-zero flanger. Unlike traditional flangers, which are just short delays with a bit of feedback, Liquid models the original flanging method, where two tape machines were used to create artificial double-tracking effects. The difference in sound between this type of flanger and what is commonly available is significant, and Liquid provides a much more usable effect. Perfect for “stereo-izing” monophonic signals like voice and vintage analog synths, Liquid also provides more mind-bending flanging at higher feedback settings.