In episode 3 of the Get To Know Your Gear series, the guys from Blorp Corp get to know/pimp the Universal Audio LA-610 Mk II Vacuum Tube Microphone/Instrument/Line Preamp.

Waves has introduced the Jack Joseph Puig Collection, a collection of audio plug-ins based on some of the most sought-after vintage pieces of gear in audio history.

“As time goes by, there are fewer and fewer examples of these heirloom processors for artists, engineers or producers to have access to,” stated Jack Joseph Puig. “Not every studio or engineer has had the luxury that I have had to be in the same creative space as some of these magnificent pieces of equipment. The three vintage processors that Waves and I have modeled are reference standard pieces of what that particular processor is supposed to sound and feel like.”

Description:

Legendary among audio aficionados for his extensive collection of exceptional, hand-picked vintage outboard gear, Puig not only shared his knowledge and expertise on these devices, but he also gave Waves exclusive access to model his most prized processors.

Working in Puig’s personal recording space, located at Los Angeles’ Ocean Way Recording Studios, Waves’ R&D team painstakingly analyzed and modeled each processor’s attribute, replicating its sound and behavior to the point where the software was virtually indistinguishable from hardware. Puig became an indispensable part of the development process, greatly assisting the Waves team by testing and fine tuning the software models of his hardware, as well as contributing an extensive library of his personal presets.

The PuigChild 660 & 670 Compressor/Limiter

Throughout the vinyl era, the original Fairchild stereo 670 compressor and its mono counterpart, the 660, were ubiquitous. From the recording studio to the record lathe, the Fairchild was renowned for its advanced compression techniques and incomparable sound. With the PuigChild 660 & 670 Compressor/Limiter, Waves has captured every distinctive nuance of Jack Joseph Puig’s Fairchild 670, along with every detail of its rich harmonic complexity. Key features include: Lateral Vertical Mode (MS Compression) for Optimal Stereo Imaging; Linked & Unlinked Modes; Digidesign Icon Support; Up to 24-bit 192 kHz Resolution; Mono and Stereo Components; TDM, RTAS, VST, AU support; PC and Mac Compatibility.

Key controls include: Input Gain -20 to 0; Threshold 0 to 10 (0.1 steps); Time Constant 1, 2, 3, 4, 5, 6; On/Off; Mains Off, 50Hz, 60Hz; Link Left/Right, Linked, Lateral/Vertical; Output -18dB to 18dB (0.1 steps).

The PuigTec EQP-1A Program Equalizer

The Pultec EQP-1A is renowned for its warm and round low frequency equalization and its beautiful high frequency boost; it also has the unique ability to boost and cut the same frequencies simultaneously, thereby creating a resonant shelf. Conceived and created for broadband equalization, the original EQP-1A features four low boost/cut frequencies, three high-cut frequencies and seven HF boost points, along with a bandwidth control for shaping the high boost curve. Waves’ PuigTec EQP-1A is a remarkable replication of Jack Joseph Puig’s original handcrafted unit, heard on dozens of popular recordings from artists including Weezer, The Black Crowes and Panic at the Disco.

Key features include: Unique resonant low shelf boost; Digidesign Icon support; Up to 24-bit, 96-kHz resolution; Mono and Stereo components; TDM, RTAS, VST, AU support; PC and Mac compatibility.

Key controls include: Low Band Boost 0 to 11 (18 dB boost, 0.1 steps); Low Band Attenuation 0 to 11 (18 dB cut, 0.1 steps); Low Band Frequency 20Hz, 30Hz, 60Hz, 100Hz; High Bell Boost 0 to 11 (18 dB boost, 0.1 steps); High Bell Bandwidth (Q) 0 to 11 (0=sharp 11=wide, 0.1 steps); High Bell Frequency 3kHz, 4kHz, 5kHz, 8kHz, 10kHz, 12kHz, 16kHz; High Shelf Attenuation 0 to 11 (18 dB cut, 0.1 steps); High Shelf Frequency (Atten Sel) 5kHz, 10kHz, 20kHz; In/Out; Output -18dB to 18dB (0.1 steps); Mains Off, 50 Hz, 60 Hz.

The PuigTec MEQ-5

The distinctive tonal characteristics of the MEQ-5 have made the original Pultec hardware a mainstay at high-end studios for decades. The midrange PuigTec MEQ-5 and the broadband PuigTec EQP-1A together constitute one of the best-known equalization chains in audio history.

Key features include: Digidesign Icon support; Up to 24-bit, 96-kHz resolution; Mono and Stereo components; TDM, RTAS, VST, AU support; PC and Mac compatibility.

Key controls include: Low Mid Frequency 200Hz, 300Hz, 500Hz, 700Hz, 1000Hz; Low Mid Peak 0 to 11 (10dB boost, 0.1 steps); Mid Frequency 200Hz, 300Hz, 500Hz, 700Hz,1000Hz, 1.5kHz, 2kHz, 3kHz,4kHz, 5kHz, 7kHz; Mid Dip 0 to 11 (10dB cut, 0.1 steps); High Mid Frequency 1.5kHz, 2kHz, 3kHz, 4kHz, 5kHz; High Mid Peak 0 to 11 (10dB boost 0.1 steps); In/Out; Output -18dB to 18dB (0.1 steps); Mains Off, 50 Hz, 60 Hz.

The JJP Collection is currently available separately as well as part of the Waves Mercury bundle.

The Production Pack is a collection of four studio-quality audio mastering tools for use in Digital Audio Workstations and host programs. The four plug-ins included in the package are:

• The Essential Compressor
• The Dynamic EQ
• The Precision EQ
• The Vintage EQ

These beta installers are operational for 30 days from their installation date, to give users the opportunity to test the plug-ins in many operating environments. Installers are available for the Windows XP and Vista platforms and for Apple OS X 10.3.9 and above, and a host program is required for use.

VertexDSP has released version 2.0 of MultiInspector, with new features and bug fixes.

MultiInspector now incorporates an FFT analysis mode with the following features:

• FFT sizes from 512 to 16384 samples.
• Several window options: Rectangular, Hann, Hamming, Blackman, Blackman-Harris, Flat Top.
• Instant display of the FFT result or smooth display according to the Attack and Release settings.
• Switchable semi-transparent display of the curves for easy detection of overlapping frequency ranges.
• The 3 already available display modes (H-Align, V-Align, V-Space) from the 31 band third octave analyzer are also usable for the FFT mode.
• The visible frequency range can be zoomed with the buttons at the bottom of the spectrum display.

Bug Fixes:

• Negative slope values caused the display of a constant level in third octave mode.
• Keyboard focus of the host is now retained after clicking inside the editor window (Mac only).
• Compatibility issues with systems running Mac OS X 10.3.

ClassicTone-56 is a recreation of one of the best sounding graphic EQs ever made. These graphic EQs are found in consoles and lunch boxes around the world and are prized for their punchiness and girth.

ClassicTone-56 features 10 bands. From low to high the bands are: 31 Hz, 63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz and 16 kHz. All bands are capable of 12 dB of boost or cut.

PulTone-FL is a recreation of a super-sweet passive program filter set. This studio classic is one of the best ways to tweak and shape tracks to create space in a mix or to create limited frequency range effects like the classic “telephone” vocal. These are the smoothest filters for carving your tracks into new and unique shapes.

PulTone-FL features two filter bands, one low-cut and one hi-cut. The frequencies for the low-cut are 50 Hz, 80 Hz, 100 Hz, 150 Hz, 250 Hz, 500 Hz, 750 Hz, 1 kHz, 1.5 kHz and 2 kHz. The frequencies for the hi-cut are 1.5 kHz, 2 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz and 15 kHz.

PulTone-FL also allows each band to move between “cut” and “expand” modes. Just use the slider below each band to move between the far left position (full cut, true to the original) and the far right positions (full expand, the reverse curve of the full cut). This unique enhancement allows PulTone-FL to act as both a super-smooth vintage filter or a uniquely silky boost EQ – or any point in-between.

Initially, both plug-ins are available for Mac OS X in VST, AU and RTAS formats (Pluggo runtime required). Demo versions are available. Windows versions are coming soon.

Pricing and Availability:

ClassicTone-56, $99
PulTone-FL, $79

VertexDSP has released a product update of MultiInspector.

The update includes a new high-resolution mode for the low-frequency bands. There is a context menu at the top of the GUI to select between the new HiRes Mode and the old Eco Mode. The mode selection is shared across all instances.

Enhancements:

• Performance improvements
• Switching signals via solo/mute now displays the levels immediately without ramping up according to the Attack setting

Bug Fixes:

• Incorrect drawing of the GUI after loading a preset under certain circumstances
• Incorrect assignments of levels in low frequency bands if HiRes Mode is deactivated

Blue Cat Audio has unleashed Blue Cat’s Parametr’EQ series V3.0 and a new mastering bundle named Blue Cat’s Master Pack.

The Parametr’EQ series offers non linear modeling capabilities to provide analog compression and distortion at every EQ stage. The new output peak meter and brickwall limiter are of great help to adjust the output level. These plugins also offer a window opacity feature which lets you see through the user interface while adjusting the parameters. The special ‘Widening’ version provides mid/side channels where you can manage the center position for the M-S matrix, enabling precise positioning of the EQ in the stereo field or multi band stereo widening and narrowing capabilities.

These plugins can be purchased separately, as a bundle, or within the new Blue Cat’s Master Pack that includes all necessary tools for mixing and mastering. A demo version of the plugins can be downloaded on Blue Cat Audio’s website, and special introduction prices have been setup for this new release (-20%).

VertexDSP has released MultiInspector V1.0 and MultiInspectorFree v1.1.

MultiInspector is a 31-band spectral analyzer designed to be used in a multitrack environment and provides an way for simultaneous spectral analysis of several audio signals.

The first instance of MultiInspector behaves like a standard 31-band spectral analyzer. Additional instances automatically send their spectral analysis result to all other instances of MultiInspector. By default, every editor window of MultiInspector shows the same content, but there are numerous options for customizing the display content so that different views of the audio signals can be achieved. After opening all necessary plug-in instances it is sufficient to leave just the editor windows open you really need. The width of the level bars is adjusted according to the current number of signals that are selected for display.

MultiInspector incorporates a standard third octave frequency analyzer. The centre frequencies of the bands are based on the ISO 266:1997 standard (20 Hz to 20 kHz). Pink noise will appear flat in the frequency spectrum with the default slope setting of 3 dB per octave.

MultiInspector supports up to 16 instances at any sample rate from 32 kHz up to 192 kHz.

Feature List:

• 31 band third octave frequency analyzer showing the spectral analysis of other plug-in instances in the same window
• Independent editor windows for different views of the same content
• Level bar width automatically adapts to the number of signals currently viewed
• Adjustable attack and release time for smooth level bar display
• Adjustable slope with a default of 3 dB per octave for flat display of pink noise
• Peak option and peak hold mode
• Average mode
• Solo/mute for signal selection
• 8 memory slots per signal in every editor window (8 x 16 memory slots per window)
• Up to 16 instances
• VST 2.4 compatible
• Sample rates from 32 kHz up to 192 kHz

MultiInspector is available as a plug-in for Windows (VST only) and Mac OS X (VST and AU, both Universal Binary).

Until 31-May-2007, MultiInspector can be purchased for an introductory price of EUR 49. After that, MultiInspector will be available for the regular price of EUR 59.

VertexDSP has also released MultiInspectorFree V1.1.

MultiInspectorFree supports up to 4 instances at a sample rate of 44.1 kHz.

MultiInspectorFree is available as a plug-in for Windows (VST only) and Mac OS X (VST and AU, both Universal Binary).

As the name implies, MultiInspectorFree is available free of charge.

Changes in version 1.1:

Enhancements:

• GUI update frequency increased for smooth attack/release behavior of the level bars
• Improved accuracy of the level bars
• Bug Fixes:
• The levels of the mono version had an offset of -6 dB
• Memory leak fixed (Windows only)

Overtone GEQ is a 7-band harmonic (overtone) graphic equalizer with multi-channel support (supporting up to 8 input/output channels, host setup dependent: if you are using audio host application that conforms to VST specification of version below 2.3, 2 plug-in channels will be available only). Overtone GEQ offers extensive internal channel routing capabilities, and supports mid/side processing.

Beside equalizing, Overtone GEQ applies harmonic enhancement processing. That is why Overtone GEQ is comparably CPU-heavy: it uses 7 harmonic enhancement modules, one for each EQ band. This generates complex harmonic coloration you will probably like a lot.

Overtone GEQ conforms to VST specification version 2.4, and so it is able to interface with audio host applications in full 64-bit floating point resolution (if supported by host application).

Overtone GEQ features:

• 7-band graphic equalizing
• ± 12 dB gain range per band
• 2 graphic equalizer views
• Multi-channel processing
• Internal channel routing
• Channel grouping
• Mid/side processing
• Complex harmonic coloration
• 64-bit floating point processing
• Preset manager
• Undo/redo history
• A/B comparisons
• Context hint messages

Audio Ease

The Rocket Science Bundle (flight path simulator, talk box and autowah) and the Nautilus Bundle (Phase correct scope-EQ, granular soundscape synthesizer and end-all Phaser) are free upgrades for Rocket Science version 3 and Nautilus version 2 users, and can be picked up from the Audio Ease site.

The Nautilus Bundle (for Mac OS X: MAS VST RTAS HTDM AU Audio Suite) consists of the following three plug-ins:

• RiverRun - River Run is a Granular Soundscape Synthesizer capable of oozing immense sonic oceans of tiny particals taken from your original audio. It can build rhythmic textures, wide harmonic soundscapes, and it can zoom in on your fragment by stretching it by a factor of up to 200.
• PeriScope - Look at the audio spectrum via the real-time animating spectroscope, or graphic analyzer, and grab faders where you see the audio happening. Phase Correct EQ, with surgical precision, and unprecedented low frequency resolution. Edit modes range from fluent to massively steep.
• Deep Phase Nine - Deep Phase Nine is a true phaser that offers unparalleled control and visual feedback. Up to 24 notches per channel, beat locked sample and hold, one-shots, a true phaser (not a flanger!) done the Audio Ease way.

The Rocket Science (for Mac OS X: MAS VST RTAS HTDM AU Audio Suite) consists of the following three plug-ins:

• Roger – You can apply human vowel filters to your audio with Roger. Use the vowel bar at the bottom to click through the vowels and click the portrait to select one of the Roger family members. Features include portamento, automation, Midi-controll and rythmic talk-nonsense mode.
• Follo – Dynamically adjusts the peak of a resonating bandpass filter according to the level of the incoming audio. Applications of Follo include an autowah on a guitar, and a thumping resonating bass generator.
• Orbit – Orbit lets you control the virtual position of your sound source. It accurately calculates the sound source’s reflections of the walls of a virtual ‘outer room’, using the exact amount of delay and attenuation for the direct sound and all reflections alike. Useit a s a physicallly correct panner, select from preset source trajectories, or create them yourself via live MIDI controller or parameter automation.

More information is available at the Audio Ease site.

To use DUY MagicEQ, you simply insert the plug-in, play your music and click on a LEARN button, which starts a process of analysing the music, resulting in an auto-equalization of the song. After the EQ’ing has “magically” taken place, the result can be adjusted using the provided EQ knobs.

With a previously unknown precision and processing complexity, DUY MagicEQ is a new high quality software plug-in for TDM OSX systems. It is not a standard EQ: MagicEQ will equalize two different musical pieces of audio in different ways. In other words, depending on the music being processed, the type of equalization calculated by MagicEQ will vary completely. This is one of the main features that makes DUY MagicEQ so different from classic EQs.

Once MagicEQ has run through the song and analysed it in realtime, the engineer simply has to decide how he would like MagicEQ to finish the equalization of his mix, by tweaking a few buttons. MagicEQ does the rest. Of course, MagicEQ will not make decisions in the name of the engineer, but it will certainly do the “dirty job” of having to move thousands of faders up and down.

MagicEQ lets the engineer’s mind free from the usual troubles in traditional mixing and mastering, such as lack of precision and errors in the mixes, due to inconsistencies or monitoring and room non-linearities, acoustic resonances, certain equipment’s undesired effects, differences in the sound levels, or simply due to human hearing fatigue.

If a mix is already very good, MagicEQ will make it sound even better. But if the mix has any deficiencies, MagicEQ will thin them out and correct them automatically.

MagicEQ Technology

Until today, it hadn’t been commercialy profitable to create automatic mastering tools, because the cost of the technology was too high. DUY has made this possible, thanks to the simultaneous use of 3 technologies, as a result of 4 years of intense investigation:

• DUY’s new OFIR (Optimal Frequency Impulse Renderer) technology allows to render audio with zero-latency, enabling the processing of amazingly complex equalizations. The great advantage of the OFIR technology is its great resolution and definition, preserving a virtually zero delay.
• “Adaptative Spectral Matching” (ASM) technology: Statistically analyses the input signal in realtime. By combining this analysis with the OFIR technology, DUY can achieve an adaptative spectral match. Therefore, the overall mix of a certain piece of musical audio can be transformed to sound like the mix of another one.
• The “Historical Audio Statistics” (HAS) Technology has allowed DUY to make a complete statistical analysis of the spectral contents of the best and most successful productions in the history of recorded Music. The result of this study has enabled DUY to objectively define which are the “colours” or Spectral Atmospheres that can be found in all the successful music pieces of a certain style, throughout history.

The ASM and HAS technologies turn DUY MagicEQ into a totally different audio processor in comparison to any other in the market. At the same time, the spectral bands and colours produced by MagicEQ can’t be found in any other existing audio processing device.

More information is available at the DUY website.

System Requirements

• Available for TDM systems running OSX.
• System requirements equal to the host sequencer.
• Supports sampling rates up to 192 KHz.

This version update introduces a convenient graphical equalizer curve editing mode like the one found in other Voxengo equalizer plug-ins. This graphical display allows you to get the most from Lampthruster’s unique equalizer. Note that EQ band gain range has been decreased to 18 dB for more convenience during EQ curve editing.

Voxengo Lampthruster features:

• 9 artistic pre-amp models
• Built-in vintage equalizer
• Graphical EQ curve editing
• On/off switches for all processing stages
• Factory presets
• “A-to-B” comparisons
• Mono-to-Stereo, Stereo-to-Stereo processing
• All sample rates supported
• 64-bit internal precision
• Native assembler DSP code

You may purchase Lampthruster on-line for USD 59.95. Lampthruster is also available in various plug-in bundles as well. For more information and downloads please visit the Voxengo website.

The MINI FBQ FBQ800 comes with the following features:

• Ultra-compact 9.5” graphic equalizer for studio and stage applications;
• Revolutionary FBQ Feedback Detection System instantly reveals critical frequencies and can also be used as Audio Analyzer;
• Additional Low Cut filter removes unwanted frequencies, e.g. floor rumble;
• Accurate 6-digit LED Input/Output meters and Level control for precise level indication;
• High-quality illuminated faders, Alps® potentiometer and illuminated switches for long-term reliability;
• Ultra low-noise audio operational amplifiers offer outstanding sound performance;
• All Mini series models can be stacked on top of each other to create an ultra-compact signal processor solution; and
• High-quality components and exceptionally rugged construction ensure long life.

EQ III’s sleek and intuitive interface features a fully interactive and easy-to-use frequency graph that allows users to view and adjust individual EQ bands and filters from within the display. EQ III was designed to complement the dedicated EQ center section of Digidesign’s ICON D-Control tactile worksurface, providing D-Control users with unsurpassed control over all of EQ III’s parameters, including gain, frequency, Q, and filter switching for all of EQ III’s bands. The plug-in’s professional and interactive interface and seamless worksurface integration makes EQ III one of the easiest EQ plug-ins to use, and provides an unparalleled workflow designed for speed and accuracy.

EQ III Features

• High-resolution, double-precision 48-bit processing
• 5-band fully parametric design with additional high-pass and low-pass filters
• Selectable shelving filters and settings on LF and HF bands
• Separate selectable high-pass, low-pass, and notch filters with variable Q and slope
• Three selectable EQ process types for flexibility and optimal DSP usage
• Professional interactive interface with tight ICON D-Control worksurface integration
• De-zippered, automatable controls for smooth parameter changes
• Support for high-resolution sample rate processing up to and including 192 kHz

For more information, for a list of supported systems, or to download EQ III, visit Digidesign’s website at http://www.digidesign.com.

Since the easiness of tuning was one of our goals HarmoniEQ features a single control surface to control equalizer curve. HarmoniEQ’s control surface workflow implements our best findings in the area of “user-equalizer” interaction. This allowed us to offer the user 3 shelving and 4 bell-shaped filters without making HarmoniEQ a hard-to-finetune device. At the same time having 7 equalizer bands in total gives the user a lot of control over spectral details of the program material being processed.

As an added bonus HarmoniEQ features a special Woofer sound mode which allows you to make instant silky-smooth bass adjustments. Another very useful element of HarmoniEQ is its control surface’s frequency range which goes up to 35 kHz. This allows you to make air boosts which are among the best in the industry. It should be also noted that HarmoniEQ works best for frequency band boosts. At the same time frequency band cuts tend to sound almost invisible which is a very important feature for an equalizer.

Features:

• 4 bell-shaped filter bands
• Low-shelf filter band
• 2 high-shelf filter bands
• Special Boost mode
• Special Woofer mode
• “A-to-B” comparisons
• Factory presets
• Mono-to-Stereo, Stereo-to-Stereo processing
• Any sample rate is supported
• Internal 64-bit processing
• Native assembler DSP code

HarmoniEQ is currently available for the introductory price of US $69.95 which will expire on 14-mar-2005. For more information and downloads you can visit the Voxengo web site.

Voxengo

This version 2.4 offers a new and a very different quality mode–the “Alt Quality”. This mode brings a whole new sonic quality dimension to GlissEQ. If you want to achieve a really astounding bass range boosts and cuts give this mode a chance!

This version update also features a narrow-band sweeping function. This function allows you to listen to a selectable narrow spectral band in order to hear what is going on there.

For your information, in GlissEQ, the spectrum of the track can be exported to any other instance of GlissEQ thus making interchannel spectrum overlaying possible. This can help you to free frequency ranges in one track to allow the instrument in another track occupying these frequencies breathe.

Voxengo GlissEQ features:

• Convenient user interface
• Five filter bands
• Eight filter types
• Real-time spectrum analyzer
• Full/bar spectrum graph modes
• Interchannel spectrum overlays
• Bandpass filter sweeping
• Extra efficient Dyn 0 mode
• High quality mode
• The “Alt” quality mode
• Three dynamic modes
• “A-to-B” comparisons
• Factory presets
• Mono-to-Stereo, Stereo-to-Stereo processing
• Any sample rate is supported
• Internal 64-bit processing
• Native assembler DSP code

For more information and downloads please visit the Voxengo web site.

Sonoma Wire Works

By combining all seven effects into one plug-in, musicians get convenient access to multi-effect presets, and the ability to instantiate more effects without using up extra insert or send locations. Each effect can be enabled or disabled separately, and by using a single window, screen clutter is minimized.

The seven effects included in Sonoma 7 VST boast sleek user interfaces designed with familiar knobs and buttons that are easy to grasp. These seven effects can also be found in RiffWorks recording software available with Line 6 GuitarPort RiffTracker.

The seven effects are:

• Attaq is an Auto-wah filter effect. With Manual, Envelope or Sequence modes you can create wah effects from subtle to wild based on picking strength or a pattern.
• Tripwire is a three-band compressor and distortion that can be used for everything from traditional low-mid-high EQ to advanced frequency dependent compression and expansion, to pitch shifted distortion.
• Tempest is eight modulation effects in one unit. With selectable wave shapes and full control over range, depth and tempo-syncable speed, it’s extremely flexible.
• 4X4 is more than your average multi-tap delay. It actually uses 4 discreet delay lines with separate control over tempo-syncable delay time. With the adjustable feedback damping, you go from warm tape-echo sounds to bright digital delay sparkle.
• Supertanker allows you to select the reverb type and adjust the size and damping.
• Stamina is an optical style compressor that is perfect for tightening up a performance or getting radical pumping effects.
• NoEqual offers traditional British EQ controls.

Sonoma 7 VST effects plug-in for Windows is available now for download and purchase. Until activated, the plug-in is a fully functional demo. Each time an effect is turned on a one minute timer starts. After 60 seconds the effects are automatically turned off.

Sonoma 7 VST is on sale direct from the company for $149 until December 31, 2004, which saves customers $50 off the list price of $199.

For more information, visit the Sonoma Wire Works site.

Firium is an intuitive linear phase equalizer that allows users to draw their desired EQ directly. The latest version of Firium adds mono support, so users can utilize Firium’s transparent equalization on their most common tracks, and improved spectral matching. Firium includes a host of features to make it easier to obtain the ideal EQ. Spectral matching allows users to make an audio source have a similar frequency response as another. Firium’s “states” allow users to coordinate multiple EQs for use on a track or mix, and to produce creative effects like EQ morphing. Other highlights include: spectrum analyzer, EQ smoothing, scaling, and shifting, and an extensive EQ history for analysis and comparison.

An unlimited band EQ toolbox, Eqium allows users to create a custom EQ exactly to their specifications. Eqium offers eleven filter types ranging from the basic, like peaking and high/low shelf, to specialty, like notch and harmonic parametric. Version 2.1 of Eqium adds keyboard text entry of filter parameters for enhanced ease-of-use and mono Pro Tools Mac Audio Suite support. Eqium still provides the same pristine sound quality professionals have come to expect and all of Eqium’s most popular features remain unchanged: parameter locking, customizable frequency response display, support for sampling rates up to 192 kHz.

Minimum System Requirements:

Mac: PowerPC G3; MacOS X (10.2 or higher); AU/VST compatible host application; Digidesign Pro Tools 6.1 or newer and Digidesign-approved system

Win: Pentium 3 or higher; Windows 98/ME/2000/XP; VST compatible host application; Digidesign Pro Tools 6.4 or newer and Digidesign-approved system

More information is available at the Elemental Audio site.

This version improves processing efficiency of the filters when they are working in the Dyn 0 mode. So, from now on GlissEQ is capable of working as a robust and efficient general-purpose equalizer with an extensive filtering and spectrum analysis functionality.

Other updates: added two new spectrum update speed options that allow you to have an even faster spectrum display response; bar graph spectrum display modes implemented which transform GlissEQ into 1/3, 1/4, 1/5, etc. octave spectrum analyzer.

GlissEQ offers a built-in FFT spectrum analyzer with an internal ‘export’ functionality which makes interchannel spectrum overlays possible. Using spectrum overlays you can see how instruments on different audio tracks spectrally interact with each other. This can help you to free frequency ranges in one track to allow the instrument in another track occupying these frequencies breathe.

Features:

• Convenient user interface
• Five filter bands
• Eight filter types
• Real-time spectrum analyzer
• Full/bar spectrum graph modes
• Interchannel spectrum overlays
• Extra efficient Dyn 0 mode
• High quality mode
• Three dynamic modes
• “A-to-B” comparisons
• Factory presets
• Mono-to-Stereo, Stereo-to-Stereo processing
• Any sample rate is supported
• Internal 64-bit processing
• Native assembler DSP code

Voxengo GlissEQ VST is available in several bundles and as a single
on-line purchase for USD 79. For more information and downloads please
visit the Voxengo web site.

“Although the majority of Pro Tools users reside on the Mac platform, growth among Windows users is significant,” Jason Beck, Eventide’s general manager, remarked. “Requests for Eventide plug-ins from Windows users have been steadily increasing. We intend to support the entire Pro Tools TDM user base with our unique product line.”

The Clockworks Legacy plug-in bundle is a collection of digital versions of Eventide’s first five hardware effects processors. The H949 Harmonizer pitch shifter put a randomizer on the delay to create more natural sounding doubling and harmonies. The original was widely utilized by many top engineers and performers, including a young Jimmy Page, who adopted the H949, the only piece of digital gear to grace his rig. Other plug-ins include: the Omnipressor, modeled after the legendary analog processor. Dubbed the compressor with an attitude, the Omnipressor is capable of extreme effects such as Dynamic Reversal and accomplishes its unique magic by compressing the signal above threshold and expanding it below. The Instant Phaser is the plug-in version of the world’s first phaser effect, and Instant Flanger is a dedicated flanger which allows the blending of modulation sources. The H910, Eventide’s first Harmonizer effects processor and the world’s first pitch changer, faithfully recreates the sound of the original, down to the micro pitch detune often used for thickening instruments and vocals on numerous hit records of the last three decades.

Eventide’s Reverb plug-in is a multi-effect plug-in that incorporates a pair of delays, pre and post stereo three-band parametric EQ, a high-quality compressor, and a Lo-Fi effect. The Eventide Reverb plug-in uses the highest quality reverb algorithms from its flagship Orville, including a full complement of halls, chambers, plates, rooms, and ambience.

Derived from its flagship hardware processor, Orville, the Eventide Octavox features eight-voices of diatonic pitch shifting, each with level and pan controls, up to 2.4 seconds of delay, and an eight-octave range. Octavox is a flexible creation tool which allows users to create anything from stacked harmonies, multi-voice micro pitch detuning, and wide choirs to musical rhythmic sequences. Tempo parameters track session tempo and meter so the delays are always in sync.