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Plug-ins are in use almost every day in any music production. What's your go-to plug-in? What's the oddest use you've put a plug-in into effect? E-mail the staff at mixeditorial@mixonline.com.
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APHEX MODEL 207D TUBE MIC/INSTRUMENT PREAMP: Audiophile-quality, 2-channel tube mic pre with great-sounding RPA™ tube preamplification. Up to 65 dB of continuously variable gain. Balanced XLR mic inputs and hi-Z instrument inputs. AES/EBU and S/PDIF digital outputs. MicLim: optical attenuator on input for crash-proof performance. Insert loop for adding other outboard tools. Phantom power, polarity selection, 20dB pad, low-cut filter and more. Retail: $499. NAB Booth: N1815.
APHEX MODEL 230 MASTER VOICE CHANNEL: A Master Voice Channel for broadcast, installed sound, live sound and music applications. A “best of” collection of Aphex technologies, including RPA tube mic pre, Easyrider compressor, Logic Assisted gate, split-band de-esser, Aural Exciter, parametric EQ and Big Bottom. Also includes +4dBu and -10dBV outputs; AES, S/PDIF and optical outputs; 24-bit/96kHz A/D; low-jitter word clock output; word clock input; and cough mute. Retail: $799. NAB Booth: N1815. AUDIENT ASP009-SUMO: The Audient ASP009-Sumo high-resolution balanced summing amplifier offers 16 paired input channels through DA88 standard D-Sub connectors. Mix inserts on balanced TRS jacks are available on each input for external processing units such as EQ or channel compressor/limiter. The mix inserts can be switched for pre- or post-position for integral Sumo dynamics processing or bypassed completely. Separate mix and monitor outputs are provided using balanced XLR connectors. The Sumo has the integrated bus compressor developed from the Audient ASP8024 console, with the addition of a peak limiter circuit. Metering is accomplished through a 26-segment meter, ranging from -36 to +24 dB (-60 to 0 dBFS). An AES/EBU output card is optional. CEDAR AUDIO CAMBRIDGE: CEDAR Cambridge™ incorporates a suite of completely new CEDAR algorithms. The most powerful and most faithful processes yet developed, these are capable of removing more noise—and more types of noise—than ever before, without damaging the desired audio or introducing unwanted side effects and artifacts. Handles 96 kHz, real-time and file processing, automation. Modules include Spectrum Analyser, Dither, Noise Shaping, Metering, Gain, Dehiss, NR-4, Declickle, Debuzz, Declip, Phase Correction, DNS, linear phase EQ, precision EQ, limiter and adaptive filter. $15,000 to $70,000. NAB Booth: N4522. CEDAR AUDIO DNS1000: Dynamic noise suppressor designed specifically for film production, dubbing, OB and studio noise suppression. Removes wind, fan, traffic and camera motor noise. Booth: N4522. DAVE SMITH INSTRUMENTS POLY EVOLVER: The Poly Evolver synthesizer is a 4-voice analog/digital hybrid designed by Dave Smith, founder and president of Sequential Circuits, but it is also a very powerful and unique effects processor for producers and engineers looking for a unique sound. It utilizes Curtis 2/4-pole analog lowpass filters and real analog VCAs. Stereo audio input can be routed to any or all of the voices, enabling parallel audio processing of external stereo or mono signals. The output of one voice can be routed to the input of another for interesting double-processing effects. DB SYSTEMS DB-8 PHONO PREAMP: Intended as an add-on for equipment without a phono section, the DB-8 tracks RIAA to 0.04 dB, has 0.002-percent distortion, 37dB gain, low output impedance of 150 ohms, no controls and a separate wall-mount DC power supply for low hum. Price: $165. DOLBY DIGITAL PLUS FOR HD PACKAGED MEDIA: Dolby Digital Plus for high-definition packaged media offers the highest performance/quality possible, while simultaneously providing flexibility for additional discrete channel coverage extending beyond the traditional 5.1-channel model, such as 7.1 and higher. These high bit-rate extensions are also designed specifically to ensure full playback compatibility with existing external Dolby Digital 5.1 decoders in home A/V receivers. It’s also ideal for limited-bandwidth environments found in HD media applications such as interactive delivery of audio content and applications using an enhanced feature package. NAB Booth: SU7870. E.A.R. 660 COMPRESSOR: The EAR 660 Fairchild-type valve limiter/compressor is designed to limit or compress the signal with the barest minimum of interference below threshold and give the most subjectively satisfying operation on high-level signals. The unit has the standard range of attack and release times, making it easy to use. Considerable effort has been spent optimizing the behavior around the “knee” of the attack/decay envelope and this that greatly contributes to the outstanding transparency and transient response that has made the E.A.R. 660 the first choice of many top professionals. Price: $5,675. NAB Booth: N4522. E.A.R. 824 PREAMP: This high-quality stereo valve mic preamp conforms to the E.A.R. principles of simplicity and subjective transparency, with low distortion at all normal signal levels. Gain controls for each channel provide 44 dB of adjustment in 2dB steps. This combined with a switchable 10dB attenuator enables the E.A.R. 824 to accept signals from 1 mV to line-level. 48V phantom powering is provided as standard; however, other configurations are available to order, including 130V power for B&K line-level microphones and a custom E.A.R. 60dB transformer for use with ribbon mics. Price: $5,825. NAB Booth: N4522. EVENTIDE BD960 BROADCAST PROFANITY DELAY: The BD960 is Eventide’s economical 8-second broadcast profanity delay with balanced XLR I/O and remote-control capabilities. The BD960 features AutoFill™, which allows the user to record an audio sample of up to eight seconds in nonvolatile memory that can be used to cover obscenities. MSRP: $1,995. NAB Booth: N502. FOCUSRITE ISA 430 MKII PRODUCER PACK CHANNEL STRIP: Augmented with additional features, with unmatched internal routing, the ISA 430 MKII Producer Pack analog channel strip features Focusrite’s classic transformer-based preamp with variable impedance and “Air” feature and a multi-format compressor for switching between Focusrite’s transparent VCA circuit and a vintage optical circuit. Its flexibility with an incredible variety of insert points and variable signal path arrangements provides the ability to function as four separate modular processors: mic pre, EQ, dynamics and 24/192kHz stereo A/D converter. FOCUSRITE LIQUID CHANNEL: This revolutionary channel strip can precisely emulate classic mic preamps and compressors. Combining radical new analog preamp technology with Dynamic Convolution™ techniques, the Liquid Channel provides the ultimate fluid vintage collection: 40 mic pre replicas and 40 compressor replicas are available, plus 100 user memories for instantaneous channel strip configuration recall. Analog and digital I/O supporting 192 kHz are also standard. Additionally, a Harmonics control allows 2nd, 3rd and fifth-order harmonics, adding warmth to mic pre replicas, and a Session Saver feature acts as an auto-gain control, preventing clipping in mid-session. LINEAR ACOUSTIC MODEL LA-5124 WITH AUTONORM: Working in cooperation with Dolby Labs, Linear Acoustic has developed the next step in audio loudness management. AutoNorm™ solves long-term loudness problems without sacrificing dynamic range or audio quality in a new version of the Linear Acoustic LA-5124 StreamStacker™ De-Multiplexer/AC-3 Splicer. Long-term dialog loudness is measured in an ATSC standard manner, and an appropriate dialog level value is inserted into one or more pre-compressed Dolby Digital (AC-3) streams by the LA-5124. This system is then able to provide automatic control of the long-term loudness of programming without any need for decoding and re-encoding, or for manually setting audio metadata parameters. AutoNorm technology can be installed at any DTV station from any network, and at program providers, cable head ends or satellite origination facilities NAB Booth: C3607F. M-AUDIO OCTANE PREAMP: The 8-channel Octane preamp delivers pristine digital signals to any Lightpipe-compatible devices such as hard disk recorders and digital mixers. Two channels have mic/instrument DI inputs for guitar and bass. Other features include M-S matrix encoding, analog preamp (direct) outs for each channel, word clock for synching multiple Octanes for more channels and 24-bit audio resolution throughout. M-AUDIO TAMPA PREAMP: TAMPA is a pro mic/instrument preamp that delivers tube sound at affordable solid-state prices. Far beyond tube modeling, it’s based on a new technology called Temporal Harmonic Alignment™. TAMPA even has a built-in world-class dual-optical servo compressor offering low noise and distortion, consistent accuracy and exceptional transparency. You also get a digital output for driving your digital recording gear directly without degradation, with temporally aligned harmonics for natural sound. Features include 24-bit digital S/PDIF and AES/EBU output; Class-A analog circuitry throughout; and large VU meters. METRIC HALO CHANNELSTRIP NATIVE: ChannelStrip Native is a console-style 6-band EQ, gate and compression plug-in that is supported within AudioUnits, MAS, VST and RTAS environments. ChannelStrip has a 255 sample delay and more than 100 presets to get your mix started. MILLENNIA MEDIA HV-3C HIGH-VOLTAGE STEREO MIC PREAMP: Two channels of Millennia’s acclaimed HV-3 microphone preamplifier. With more than 20,000 channels now installed, the HV-3 is a mainstay of classical music and critical acoustic music recording. Used on a predominance of Hollywood film scores, the HV-3 is a discrete hybrid topology of exacting quality designed with vintage-grade components and road-worthy electro-mechanics. Used by everyone from Streisand to Pavarotti, from Celine Dion to Andrea Bocelli, the HV-3 is a required signal path when nothing but the world’s most invisible microphone preamplifier is required. With +32dBu output headroom and +23dBu unpadded input headroom, the HV-3 will simply not overload or clip under any condition. Price: $1,995; high-voltage input option is $200 per channel. PHOENIX AUDIO DRS-2 MIC PREAMP/DI: The DRS-2 Mic-Pre/DI uses our well-proven and loved Class-A output stage (TF1), but also has our latest breakthrough in transformerless Class-A, discrete mic input technology, which gives a “valve-like” sound. It also incorporates our high input impedance DI circuitry. Frequency response: 20 to 20k Hz (±0.5 dB). Maximum output: +26 dBu @ 1 kHz. Noise: -90 dB @ 20 to 20k Hz. Standard features: highpass filter, phase reverse and LED metering. NAB Booth: N4522. PHOENIX AUDIO NICERIZER: The Nicerizer is a two-rackspace, linkable, 8-channel unit that can be stacked and linked in any multiple and various configurations to give high-quality, line-level, Class-A discrete buffering. Applications range from “digital sweetening” to source routing. Frequency response: (line input stage) -0.4 dB @ 40 Hz, -0.3 dB @ 35 kHz. Frequency response: (DS-OP2 output stage) -0.3 dB @ 40 Hz, -0.4 dB @ 25 kHz. Eight balanced XLR inputs/outputs. NAB Booth: N4522. SONIFEX HY-03: The HY-03 is a high-quality analog telephone hybrid, which is suitable for most general telephony applications and is often used in radio and TV stations, bingo halls and dealing floors. The HY-03 can be used for any application in which a clean telephone signal is required and the line is not subject to delay. Fully automatic; adapts to varying line conditions and has automatic signal limiting. Local and remote line-hold switching, balanced mic/line input, 10k-ohm balanced input selectable for 0dBu clean feed line or microphone level with adjustable gain. Low-impedance 0dBu balanced output, with output gain adjustment. Integrated ring detector, line limiter, bandpass filter and output noise gate, built-in power supply. NAB Booth: N4522. SONY OXFORD RESTORATION TOOLS: The Oxford Restoration Tools plug-ins from Sony offer a suite of de-buzz, de-noise and de-click tools for audio restoration. The DeClick plug-in combines DeClick and DeCrackle; unlike other de-clickers, it is able to remove large pops and clicks, right through to tiny crackles, all within one plug-in. The DeBuzz plug-in has two modes to minimize signal damage, and is able to automatically track any slow drift in the fundamental buzz frequency. While the DeNoise plug-in can automatically track noise in Auto mode, it can also provide traditional noise fingerprint capture. There is also a Mid-Side button for de-noising FM broadcasts and a Soft control for reducing artifacts while working with heavy noise or dialog. NAB Booth: SU6406. THE SOUND GUY SFX MACHINE RT 1.04: SFX Machine RT is an audio multi-effects plug-in, available in VST format for Mac and Windows and in AudioUnits format for Mac OS X. RT 1.04 comes with hundreds of presets, including conventional effects such as choruses and flangers, as well as a wide variety of unique effects and utilities. The software has been streamlined for fast and easy use in audio production environments. Retail: $99. The SFX Machine Simulator (http://sfxmachine.com/simulator) is an online Flash program that lets Web surfers interact with a simulated version of SFX Machine without having to download and install the demo. SYMETRIX AIR TOOLS 6200 VOICE PROCESSOR: The 6200 Voice Processor meets the increasingly sophisticated needs of broadcasters operating in both analog and digital realms. This dual-channel, DSP-driven unit processes mic or line-level signals in dual-mono or stereo. Features: editable processing blocks (from front panel or Windows-based GUI via USB or Ethernet ports); 1,024 onboard preset locations; filtering, parametric EQ, compression, de-essing, gating and room simulation. Supports HomerLink, for compatibility with Studio Matrix system. NAB Booth: N4006. TC-HELICON VOICEPRO: VoicePro, the all-in-one voice processor from TC-Helicon, offers EQ, dynamics, pitch correction, de-essing, multipart harmony and the ability to morph the human voice from male to female and back again at the touch of a button. The dual-rackspace unit also features a color screen, browser and help screen with the entire manual. NAB Booth: C3607G. TDL TECHNOLOGY MODEL 907 MAXXBASS SUBWOOFER PROCESSOR: MaxxBass (a trademark of Waves Ltd.) is a psychoacoustical method of producing sub bass. The low frequencies you hear do not really exist except in your perception, so a small driver in a small enclosure can be used. The 907 is a system development tool and a way to experience the MaxxBass phenomenon in your own audio system. The unit is housed in a two-rackspace enclosure. TRILLIUM LANE LABS TL SPACE: TL Space is the ultimate Pro Tools reverb for music and post-production applications. From the largest concert hall to the densest plate reverb, TL Space delivers the pristine sound of natural reverb spaces with the familiar controls used in high-end hardware reverb units. By combining the sampled acoustics of real reverb spaces with advanced DSP algorithms, TL Space offers stunning realism with full control of reverb parameters in mono, stereo and surround formats. TL Space is the first Pro Tools plug-in to deliver a number of technical breakthroughs that unleash the full power of the Pro Tools|HD platform and erase the difference that previously existed between high-end reverb hardware units and software reverb processing. Finally, the promise of convolution reverb processing is available directly inside Pro Tools with no compromises. NAB Booth: SL600. UNIVERSAL AUDIO 8110 8-CHANNEL MIC PREAMP: The 8110 provides eight channels of premium Class-A, all-discrete amplification and is the first analog product from Universal Audio to break from our vintage roots and offers a world-class tool of “ultra-fidelity.” Every channel features custom input stage transformers, dedicated gain and level controls, input and output metering, dual input impedance selection, and a three-way “Shape” switch offering a variable signal path for maximum sonic versatility. The shape switch has three modes: Modern—ultra-clean, transparent, maximum headroom; Vintage—transformer-loaded with harmonic enhancement; and Saturate—transformer-loaded with soft limiting. UNIVERSAL AUDIO UAD-1 ULTRA PAK: The UAD-1 Ultra Pak is designed for DAW pros who need premium sonic quality for mixing/mastering applications. Included are the award-winning UAD-1 DSP card and 24 plug-ins. Universal Audio uses proprietary circuit-modeling techniques to capture every subtle nuance of analog studio mainstays, such as the 1176LN, LA-2A, Pultec EQP-1A and Fairchild 670. Also included are innovative “UA Original” plug-ins, including the Cambridge EQ, Nigel Guitar Processor, Channel Strip, RealVerb, DreamVerb and the Plate 140. Ultra PAK also delivers the Precision Limiter and Precision Equalizer from the Precision Mastering Series—a suite that shares a sonic class with the best analog and digital hardware units. URS EVERYTHING EQ BUNDLE VERSION 4: Unique Recording Software’s Everything EQ Bundle Version 4 now features mouse scroll wheel support for Mac OS X. URS has developed a revolutionary way to control plug-in knobs, sliders, buttons and numeric windows with any popular scroll wheel mouse. URS A and N Series EQs now support AudioUnits and VST PC and Mac OS X formats. NAB Booth: SL1210. WHEATSTONE VORSIS AUDIO PROCESSOR: This 2-channel/stereo audio processor provides an array of analog/digital inputs and outputs, a 4-band parametric EQ, 3-band compressor and tunable filters, along with overall AGC, limiting and expansion. All settings can be stored and replayed as password-protected presets. Front panel display includes input, output and gain reduction meters. Remote monitoring and operational control is possible using Ethernet-enabled GUI software. NAB Booth: N2802. |
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