Holl & Rush – Believe It ft. Mike James (Remix Stems)
Size 126 Mb
Remix Holl & Rush to win a prize package and consideration for an official release.
Rising stars Oscar Loomans and Bart Jaspers, better known as Holl & Rush, have been sharing their musical passion ever since they were kids learning to produce together. Their unique progressive and electronic sound has earned them support from electronic music luminaries like Hardwell, Fedde, Tiësto, Martin Garrix, & Nicky Romero while their tireless touring schedule has introduced them to crowds around the globe. Their single “Believe It” featuring Mike James, out now on Future House Music, is an addictive dance track that has already been played millions of times on Spotify.
Now these rising stars want to hear what you can do with “Believe It”. Take these stems and make something Holl, Rush, & Mike will love to win $300, merchandise from Future House Music, and consideration for an official release through the label.
Source: Holl & Rush – Believe It ft. Mike James (Remix Contest)
MAGIX SpectraLayers Pro 5.0.140 Win & MacOSX
Size Win 71 Mb // Mac 66 Mb
Advanced Audio Spectrum Editor. In SpectraLayers Pro 5, you can work with the individual sounds in an audio file fully visually. Transpose, extract and optimize sounds in ways never imagined thanks to the unique layers concept for the frequency spectrum. SpectraLayers Pro transforms sound into a unique visual world of multidimensional audio data. Outstanding program design, a high performance audio engine and seamless integration with other DAWs make SpectraLayers Pro one of the world’s most revolutionary spectral editing platforms.
What’s New:
– A visual Spectrogram for unrivalled sound design, editing and restoration
– Make precise edits and create incredible audio in real time
– NEW! High definition Spectrogram for pin-sharp visual detail
– NEW! Redesigned GUI for a smooth and fast workflow
– NEW! Professional tools for repairing and restoring audio
– NEW! Powerful algorithms for high-precision visual editing
Enhanced user interface for the perfect workflow
New buttons, direct editing of wave samples and volume control for groups are just some of the new program features. A preview is now available for every tool to illustrate the functionality of the tool before selection for use.
Spectral Casting Spectral Casting
Use the frequency spectrum of one layer as a cast for the overall mix. Using Spectral Casting, seamlessly integrate elements such as vocals into an existing mix by precisely “blanking” overlapping frequencies.
Spectral Molding
Spectral Molding Spectral molding uses frequencies to materialize crosses between recordings for creative sound design. For example, imagine a guitar recording with an acoustic texture of vocals!
Cleaning with noise prints
SpectraLayers enables you to identify noise within a waveform in a matter of clicks and save it as a noise prints. This “print” can then be used for various types of noise reduction.
Who needs SpectraLayers Pro?
Audio mastering engineers
From small fixes to radical, project-wide transformations, use SpectraLayers Pro to repair, filter, and remix audio in ways you never thought possible.
Sound design
Isolate individual sounds in an audio file, select material by frequency, and construct new music directly on the spectral graph.
Audio-for-video producers
Apply bandwidth-limited noiseprints across entire files, or perform surgical cuts to remove isolated sonic events.
Forensic audio mastering
Audio extraction is a SpectraLayers Pro specialty. Pull target sounds for analysis, replacement, or rights management purposes.
Audio archivists
Isolate individual sounds in an audio file, select material by frequency, and construct new music directly on the spectral graph.
Remixing
Apply bandwidth-limited noiseprints across entire files, or perform surgical cuts to remove isolated sonic events.
NEW! Heal Action
In contrast to the Delete function, the “Heal Action” reconstructs types of background noise.
NEW! Repair Frequency Tool
Repair damaged frequencies by dragging from one end of the frequency to the other.
NEW! Spectral Marker
You can now draw Spectral Markers and Spectral Ranges and save them to the project files. It’s especially useful for a forensic workflow.
System Requirements:
– You need a 64-bit-version following operating systems:
– Windows 7 SP1, Windows 8, Windows 10
– Processor: Dual-core processor (Quad-core processor recommended)
– RAM: 4 GB RAM
– Graphics card: OpenGL 3.0 compatible graphics card, min. resolution 1280 x 768
– Sound card: Windows-compatible audio hardware
– Hard drive space: 2 GB for program installation
– Browser: Internet Explorer 8, Firefox 10 or Google Chrome 13 or higherRelease NotesThe all-new SpectraLayers Pro 5.
SpectraLayers Pro 5 offers unrivalled audio editing and sound design that you can not only hear, but see. Featuring a unique spectral visualization of your sound, it really lets you get to the heart and soul of your audio. Make precise edits, repair damaged artefacts and create unique audio designs. The all-new version, SpectraLayers Pro 5, has a redesigned front end for a smoother workflow, added tools for restoration and repair, and an all-new high-resolution Spectrogram so you can see your audio, like never before.
Brand new interface
SpectraLayers Pro 5 features a new, slick and darker interface offering an easier workflow so you can focus more on the task at hand. The GUI features improved navigation and more logically grouped tools and settings. There are new Hybrid Slider Value inputs which can be be controlled by mouse, touch, number input or scroll wheel and Direct Wave sample editing.
Heal, repair, select.
Several new tools allow you to get full control over the audio restoration process. The new Heal Action feature automatically fills gaps in an audio file by reconstructing the ambient background noise around it. If you have a dropout in an audio recording, for example, Heal Action examines the audio on either side to rebuild the missing data. The Frequency Repair tool allows you to repair specific damaged frequencies very easily using assisted frequency reconstruction and with full control over the reconstruction process. Finally, Spectral Markers allow you to add and share annotations within the Spectrogram.
Your new cockpit.
The high-definition Spectrogram display contains the world-first use of the powerful Fast Local Sharpening algorithm. This results in a high-resolution that offers pin-sharp accuracy, so allows you to perform precision edits, all in real time. The display has several adjustable parameters that really let you home in and focus on specific detail within your audio including Wave Range, Time Range, 3D Range and fine-tunable Frequency Resolution and Overlap.
The new Composite View.
The brand new Composite View mode in SpectraLayers Pro 5 is offering you a highly-customisable range of previews of your final mix with the complete dynamic range shown across the Spectrogram. It reveals all the layers merged together with adjustable color-mapping and a color gradient of your choice so you can easily customise the preview of your mix to your taste. Within this mode, you can still make edits and use all of the precision controls.
The new HD Spectrogram.
SpectraLayers Pro 5 features a brand new algorithm called Fast Local Sharpening which brings never before seen detail and precision viewing to the software. It was designed specifically for the SpectraLayers Pro and unveiled at the 143rd AES Convention in New York. The results are unrivalled, super high definition within the Spectrogram and features like Time Sharpen and Frequency Sharpen settings for high-precision editing.Homepage
Fancy adding a touch of extra groove to your beats? Life’s not just about kick, hat and snares and every beat maker should have a good source of percussion sounds at their disposal. Essential Percussion contains 192 professionally produced shakers, tambourines and cabasas to get your beats moving!
Part of our ‘Beatmaker Tool Kit Series’, this is a multiformat pack that contains WAV and MPC SND format versions of all sounds, making it compatible with all MPCs, JJOS, Maschine, and all software samplers & DAWs.
Technical Specification:
•Samples: 192 samples. 64 shakers, 64 tambs, 64 cabasa
•Format: Contains WAV and MPC SND versions of all sounds and PGM files that auto-assign the sounds across the pads.
•Compatibility: All MPC models, all versions of JJOS, NI Maschine and any software sampler and DAW. Will this work with my sampler?
•Sound Design/Publisher: Eddie Bazil
•License: Royalty Free
Tone Empire Goliath v1.0.0 Win & MacOSX
Size 53 Mb
Tri Color – Saturation /Dynamics /Eq
Transformer, Tube & Tape Saturation with Envelope Follower & Analog Modeled EQ
Analog Behavior
The signal path of analog audio running through solid state , tube and tape gear yields what we call a “Dimensional Analog Sound”. Besides the saturation that occurs in the analog world, the sounds also get naturally “compressed” and bumped or reduced in certain frequencies. Hence in order to accurately model analog outboard , we modeled and provide on this plugin , the ability to choose type of saturation, an envelope shaper and an analog modelled equalizer. This makes Goliath a true “Analog Mojo Box”.
Tone Colors
Choose from Solid State (Silver), Tube (Gold) & Tape (Titanium) saturation with the Tone selector. Silver brings a clean style saturation, with Gold you get more grit and edge, and Titanium brings the tape harmonics and punchy saturation to your audio. You can go from very subtle sounding to edgy. Increase apparent loudness without raising peak levels, and make your sounds cut through in a mix, or add a nice warm glow. These 3 very distinct flavors give you plenty of tone control additionally with the “Input/Drive” control and the “Roof” control. Easy to dial in the sweet spot and details you want.
Envelope + EQ
The Envelope and EQ become the final but invaluable piece of tone shaping tools . Looking for aggressive drums with punchy sustained sound? or hard edged “attacky” vocals. This section lets you mould the sound shape you desire using the “Motion” control going from “splat” to “sharp”. Thin out pianos , strings & guitars with presence and air, or thicken up synths, bass guitar , kick drums etc. Detailed tweaking allowed on this one to dial in the sweet spots. Blend in this processing with your dry sounds using the wet/dry mix control.
Offset Prod’s debut pack ‘Cyber Funk Minds’ was intricately crafted by French music producer and digital alchemist Niko Pisani. Inside you will find a plethora of evolving melodies, perplexing synths, soaring atmospheres, dynamic beats and strong, deep bass.
Download today and surf the sonic waves of trap, ambient, neo-funk, and nu disco genres with this multi faceted collection of loops and one shots.
Contains 105 24 Bit Wav Loops, 95 24 Bit Wav One Shots
303 MB Download Size
About the course –
The new Uncut series is a set of unique production courses with a truly behind-the-scenes feel, the Uncut courses let you get inside the DAW of the artists you love. Giving you an exclusive glimpse of their REAL, no frills workflow in the studio. See tracks get made from scratch, live and unedited. See the secret techniques professional artists employ in their day-to-day work. See the mistakes, creative choices and the happy accidents that lead to the end product of quality House, Tech House and Techno. Uncut series offers an entry level price point for all producers, with 4-hour courses as little as $29. Take a seat in the studio and learn from artists at the top of their game.
About Illyus & Barrientos –
In a brand new, raw and uncut Toolroom Academy tutorial direct from their studio, Illyus & Barrientos serve up their studio secrets in this exclusive course.
Already recognized as two of the most consistent House producers in the UK right now, their remixes and originals have been rocking dancefloors all over the world since they hit the scene in 2014. They’ve been picked as one of Pete Tong’s Future Stars on BBC Radio 1, and 2017 saw them booked at bigger and bigger clubs and releasing on Suara, Defected, Cr2 and of course the mighty Toolroom Records. Now 2018 sees them setting their sights on even bigger successes, with more remixes, more releases and a huge summer ahead. Don’t miss this chance to go side-by-side with them in the studio to watch and learn how they craft their signature sound.
Chapters
01: Introduction
02: Finding Loops
03: Creating Kick and Snare
04: Working on Percussion
05: Using Maschine for Drum Sounds
06: Creating a Bassline
07: Arranging the Bassline
08: Color Coding and Staying Organized
09: Arranging the Vocal Part 1
10: Arranging the Vocal Part 2
11: Arranging the Track
12: More Vocal Arrangement
13: Adding Sound FX
14: Thoughts About Arrangement and Markers
15: Working on Arrangement
16: Vocal Arrangement
17: Automation and FX
18: Continuing Arrangement
19: Dialing in the Arrangement
20: Memorable Snare Rolls
21: Adding a Melodic Filter
22: Additional Vocal Processing
23: Adding More Energy To Your Track
24: Creating a Memorable Melody
25: Effects that Work on Melody Ideas
26: Adding a Sidechain
27: Producing the Breakdown
28: Adding More Synths
29: Adding More Vocal Parts
30: Using Busses and Sends
31: Producing the Second Drop
32: Interesting Arrangement Ideas
33: Adding Elements to the Second Drop
34: Start to Mixing
35: Processing the Kick Drum
36: Mixing Percussion
37: Processing the Bassline
38: Using Sidechain In Mixing
39: Mixing the Drop Sections
40: Hi-Hat Mixing
41: Adding More Samples to the Drop
42: Pad FX
43: Adding Automation
44: Final Mixdown
45: Closing
W. A. Production is rolling out another innovative tool to assist you in your song creation adventures. Play your instruments using the brilliant idea of relative notes, rather than the old static approach. Explore the world of scales and expand your creativity in a way that you never have before.
What is it?
Instascale is a newly invented, scale oriented instrument with only 16 keys to play with. But wait, is that enough? Turns out it’s more than enough. Unlike the standard keyboard instruments where each key can only play a single note, Instascale has a set of smart keys, each one capable of playing different notes. The new note will be based on the given scale, last note’s position and the action of the key assigned to it.
Instascale is available as a MIDI processor plugin that can be used in any DAW that supports VST instrument plugins (with MIDI routing) or AU MIDI effect plugins, given you the freedom to play any instrument you choose without any limitations regarding the sound and hardware.
What can I use it for?
Learning. With all the scales included in the plugin and various information displayed on the interface, Instascale can be a valuable source to study and learn different scales and modes very quickly.
Ear Training. Get familiar with the scales in different keys and modes without having to know how to play them. Train your ear to recognize intervals and distances quickly. Using the home feature you can stay on a certain note and see what feelings it creates compared to the other notes of that scale.
Serious playing. Instascale might seem like a strange and unfamiliar instrument at first but don’t be fooled, like any other instrument with enough practice and dedication you can play a kind of mind blowing music that you could have never done with any other instrument out there.
Experimenting and getting inspired. Considering that you can never hit a wrong note with Instascale, just play random keys and get inspired by the unpredictable but musically pleasant results. Happy accidents always happen. You don’t even have to use your MIDI keyboard, you can use your drum pad/kit, map the pads to the correct keys and start playing. You’d be surprised how cool it feels and sounds.
Breaking the rules. The foundation of the plugin is based on doing things differently, knowing the rules first and then breaking them. So let it inspire you to go even further and find new ways to create music without limiting your mind to the concept of black and white keys and minor and major scales. The plugin guards the rules but lets you change them, bend them or break them. It lets you change the scale, root and home notes on the fly, do crazy runs, it even allows you to create your own experimental scales.
We are sure you will find Instascale fun to use whether it be as an educational tool to learn scales or expand your current knowledge, as an outlet for creativity, as a quick reference, or to be applied to your live set. Just like the creation of music, the possibilities within Instascale are endless and at your fingertips.
How does it work?
Instascale works as a VST instrument and AU MIDI effect plugin. It receives midi data from the controller and swaps it with the processed one. In VST mode the output can be routed to any other instrument in the host application using the available routing functions in that host. The AU version works as a midi effect only in hosts like Logic Pro x that supports the type. There are 16 playing keys that will be used to play the target instrument. What these keys do and where they’re placed on the controller can be customized. They can have static offset values like ‘Home’ or a relative ones like ‘+2’ or ‘-3’. Using this offset value and the previous note, the plug-in calculate the actual note the key plays. you can read more about the playing keys in the manual. In addition to playing keys there are some control keys that can be used to change and control some of the parameters of the plugin like scale and octave directly from the MIDI controller.
Features
Relative Playing. Experience the idea of relative notes and new possibilities to play musical instruments.
Scales. A list of commonly known and used scales such as Major, Minor, Melodic Minor, Harmonic Minor, Spanish, Arabic, Major Pentatonic, Minor Pentatonic, Blues, In Sen, Hirajoshi and more.
User friendly Interface: There are a lot of elements on the interface such as different readouts, virtual keyboards and graphics which help the user have a better experience and get the most out of the plugin.
Edit or Add Scales. Users can edit existing scales or add their own scales (Full version only).
Home Note. The home note can be changed from the root to any other note on the scale making it possible to play different modes or accompany chord changes.
Playing Keys with lots of options. For each of the 16 playing keys, there are two menus. The mapping menu, and the action menu. First one determines where the key is placed on the controller, and includes a list of MIDI notes. The second menu determines what the key does and includes some static and some relative options like ‘Home’, ‘Repeat’, ‘+1’, etc. You can read more about the playing keys in the manual.
Control Keys. There are several control keys that can be set and used to improve live performance. These keys provide an easy access to control and change the scale, octave, root and home parameters using midi notes on the controller.
Root -/+, Scale -/+, Home -/+, Octave -/+. When assigned to a midi note, these keys can be used to change the Key(root), Scale, Home Note and Octave by switching up or down the values.
Scale, Root, Home, Octave Switch keys. These assign a series of midi notes to be used to switch between specific values just by hitting a single note. For example by setting Root Switch to ‘C2-B2’, C2 on the controller will set the key to C, C# will set the key to C# and so on.
Poly: Multiple notes can be played simultaneously. Same notes can be stacked on top of each other to build chords. For example in C major, Home key plus two stacked +2 key will produce C major chord (C+E+G). The order of notes are important. So even if you’re using MIDI editor in your DAW and placing them at the same point in time or even on top of each other, the first note created will be the first one processed and so the second note’s value is based on the first ones.
Octave Shifter: Shifts the output octave up and down. Input octave can also be shifted to a more preferable playing position or to match the host’s labels, using ‘C2’ menu.
Pass through mode: By changing the mode to pass through, users can bypass the plugin play the target instrument normally.
Map Playing and Control Keys: Instascale allows users to change the default settings and map all the keys to desired midi notes. Different keys can have the same offset value making it possible to set interesting playing modes.
User’s manual, online tutorials and support. To get started and learn more about the plugin you can check out the manual and video tutorials. You can always contact us if you had any questions.
System Requirements
Windows 7 and later (32/64 bit)
OSX 10.7. and later (32/64 bit)
The plugin might work on older versions too, but it’s not guaranteed.
Compatibility
Instachord can be used on any software that supports VST plugins with MIDI routing or AU MIDI effect type. But to make sure it’s compatible with yours please try the demo version before you buy (only C Major scale is available in demo version).
Installation and Setup
The installation instruction will be included in the downloaded package and manual.
Tested OK on:
Windows
FL Studio 12
Cubase 9.5
Studio One 3
Ableton Live 9
Mac
Cubase 9.5
Studio One 3
Ableton Live 9
Logic Pro X
Incompatible
Maschine 2 (Win / Mac) No MIDI routing
Reason (Win / Mac) No MIDI routing
Sometimes you just need to be bold. Nothing passive or pensive. No nuance or subtlety. Sometimes you just need to make a statement … like neon colors in a world of pastels. Neon is a Concept library put together by producer and mixer extraordinaire, Chris Zane. As the name suggests, these drums are bright, bold and powerful. They are loud and proud. But let’s be clear, they’re not loud simply for the sake of being loud. Our industry is oversaturated with ‘ringy’ and ‘pingy’ indie rock drums and such. These drums are quite a bit more colorful — which ultimately makes them more serviceable and more beneficial. Abstract expressionist painter, Jackson Pollock once said, “Every good artist paints what he is.” Neon is a direct reflection of its designer, Chris Zane. Albums like ‘Matter’ and ‘When the Night’ by Indie Rock legends, St. Lucia demonstrate Chris’s unique producing and mixing style. Neon is full of drums with beautiful ironies and great stories. For example, some of the drums are old but explosive. Some of them are tight and dead without being meek or quiet. The centerpiece of the library is CZ’s custom Eames kit — handmade by Bay Stater, Joe Mac. And then of course, is all the gear — vintage Neves, Pultecs, API, Chandler, old Neumanns, AKG as well as some amazing UAD plugins. All of this comes together to serve as a tasteful tribute to the live room in NYC where Chris has made every record for over 16 years. And if all of this isn’t enough, Neon features performances by That Sound Icon drummer, Paul Mabury.
TECH SPECS
SAMPLES
Over 1900 total multi-velocity and one-shot samples, 151 kick samples (2 kicks in multiple velocities + 16 one-shot kick samples), 580 snare samples (5 snares in multiple velocities + 16 one-shot snare samples), 17 toms, 1 hat with 5 approaches (foot, half open, side stick, splash, tip), 5 cymbals (2 crashes + 3 rides) with 5 approaches (bell, crash, sizzle, tip, ride), 10 claps, 13 fx
All of the multi-velocity samples come in (up to) 6 mix variations including: Natural, Big, Dry, Overhead, Rooms, AMS
LOOPS
423 individual loops, tempos ranging from 80-130 bpms in a variety of grooves, featuring a variety of instruments
PRESETS
Ableton, Reason, EXS24, Maschine 2, Battery 4, Trigger 2, and Kontakt 5 (full version — presets won’t work with the free version).
‘Code Red: Drum Kit’ by Empire SoundKits comes packed with sounds that will allow you to make beats in the styles of 50 Cent, Lloyd Banks, Araab Muzik, Scott Storch and many more.
If you’re looking to create hits in the styles of today’s top charting artists, use these drum hits and loops to help you with your next placement.
Native Instruments Crush Pack v1.0.0 Win & Mac
Size Win 39 Mb // Mac 190 Mb
ELEGANT TONAL DESTRUCTION
Three expansive plug-ins spanning bit-crushing, distortion, frequency shifting, and more
Iconic sounds in a wide array of modern colors
Character-enhancing presets that transform any signal
BITE: INSTANT STREET VIBES
Precision bit-crushing: Recreate the prized sonic imperfections that defined hip-hop and dance music’s first golden era, or dial the bits right down to depth-charged extremes.
Authentic organic crunch of 80s digital sample rate reduction
Wide sonic palette: From character-adding bite to bit-reduced oblivion
Auto-input/output compensation, for controlled chaos
Generate curious and noisy artifacts at low sample rates
DIRT: STRAY INTO THE RED
Organic-sounding distortion, crafted by sound designers. Flexible signal routing, blending, and other carefully crafted parameters allow a level of control not normally associated with distortion units.
An elegant and broad spectrum of distortion
Add presence to synths, glue drum busses, decimate guitars, and more
Wavefolding allows complex, dynamic timbres from simple sources like sine waves
Controls calibrated for subtle tone-shaping
FREAK: SONIC MUTATION
Three sound-bending modulation types offer retro radio lo-fi and wild sidechain ability, alongside classic AM, ring mod, and frequency shifting techniques.
Create detuned horror-style vocals, rich metallic timbres, rhythmic sidechain, and more
Add a whole universe of noise and inharmonic content to harmonic signals
Radio mode: Demodulation of signals offers the sound of vintage broadcasts or alien transmissions
Stereo modulation feature – particularly effective on percussion
“Future Bass Vocals Part II” continues our series of royalty-free vocals sample packs tailored towards Future Bass productions.
Each song includes “dry” (no reverb, no delay) lead and backing vocal, and “wet” (fully effected and mixed) version that is 100% ready to be used instantly in your tracks. As usual, we’ve also included MIDI harmony (chords) to each kit to give you the full flexibility.
Songs list:
From Within – 72.5 Bpm, Key Am
In Your Eyes – 97 Bpm, Key A#m
Touch From Within – 97 Bpm, Key A#m
Morning Sun – 106 BPM, Key Em
What I Need – 130 Bpm, Key Fm
Get to grips with over 100 sounds for your tracks, taken from our award-winning FX catalogue. Download the pack for free by adding it to your cart and checking out.
W. A. Production has created the perfect way to approach and achieve proper compression. All producers know compression can either be an award-winning tool if used properly, or it can totally destroy your mix. Audio students are introduced to compression and most are left confused or scared to death of it. SphereComp is capable of catering to the seasoned pro and the beginner.
To get the same results you get with SphereComp you would have to spend thousands of dollars in high end rack gear, invest time getting acquainted, making adjustments over and over until you get the result you want. Not to mention installation and routing your patch bay. Breathe a sigh of relief. Don’t dread compression. Embrace it.
What is dual – mode?
Dual mode allows YOU to switch from peak compression (regular mode) to RMS compression (buss mode).
If you route your drum tracks (or any other group of tracks) into a group track, you are able to compress this group as a whole. Tying or “gluing” the individual elements to perform as one. The Buss mode is designed especially for that, It reacts to the RMS (root mean square) or the average of the signal, creating a smooth and musical compression. Regular mode reacts to the peaks of the signal, with it, you are able to dynamically shape the individual tracks. Keep in mind that some individual tracks will benefit much more from RMS compression and some groups or mixes will benefit more from peak compression, so experiment and see what works best for your track.
FEATURES
Input – Control the input gain by +/- 15dB.
Threshold – Threshold (dB), when the signal level exceeds the threshold the compressor goes into action.
Ratio – (ratio/1) As an example, a 3:1 ratio means that for every 3dB the input signal exceeds the threshold, only 1dB will be allowed to pass by the compressor.
Output – Control the output gain by +/- 15dB.
Now that you have your set your levels as a basic start, lets adjust the timing and behavior. When you’re done, you can come back and fine tune everything to make your track seat perfectly in the mix.
Buss – Switch between Regular mode (peak compression) and Buss mode (RMS compression).
Attack – Time in milliseconds that it will take for the compressor to reach its destination gain reduction, after the signal has crossed the threshold.
Release – Time in milliseconds that it will take for the compressor to reach 0 gain reduction after the signal returned below the threshold.
Auto Gain – Auto Gain matches the output volume to input volume automatically.
Stereo – Switch between stereo and mono modes.
Punch – Parallel processing to add punch to the signal before the compression stage.
Saturate – Add tube style saturation to the compressed signal.
Clean – Make the compressor sound as clean as possible. If Punch or Saturate are on, it will reduce their effect giving you different timbre options.
Side Chain – Signal from the right channel input goes to the detector and the signal from the left channel input goes to the compressor.
Soft Clipping – Use to round the signal when it approaches 0.0dB and ensures it does not exceed it.
Bypass – Allows you to engage and disengage the compressor.
Dry/Wet – Mixes between the processed signal and the input signal creating a parallel compression effect, which leaves the peaks untouched while boosting the lower part of the signal.
To help you out there are also 45 presets that focus on individual instruments and drum sounds as well as groups, mix buss and mastering presets.
This is yet another way W.A. Production has made it easy for you to learn as you go. See what the pro’s do and make your own modifications. And as if that wasn’t enough to get you excited and ready to master compression, you will find pro tips and tricks inside the manual. That’s right, we weren’t going to just leave ya hanging to figure it out for yourself. There is a manual to assist you with getting started and getting the most out of Sphere Comp.
Be done with complicated compressors from creators who spent more time on the graphics than the functionality of the plug in. W.A. Production are real producers making real plug ins. We know how it is, and we make it how it should be.
SYSTEM REQUIREMENTS:
– Windows 7 or higher (32 / 64 bit)
– Mac OSX 10.5 or higher (32 / 64 bit)
– AAX – ProTools 11 or higher
What can I use it for?
