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ToneBoosters All Plugins Bundle v3.0.9 For WiN and OSX

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软件详细

TB Barricade CM

Transparent, mastering-grade brickwall limiter that comes free with Computer Music magazine issue 199 (Dec 2013).

 

Description:

TB Barricade CM is a simple yet very effective and transparent brickwall limiter that is suitable for individual tracks as well as mastering work. It supports digital peak meters, RMS meters, and gain/attenuation meters, all with peak hold functionality. The meter scales also support the k-system (k12, k14, and k20) layout and ballastics. Last but not least, true peak / inter-sample peak (ISP) detection circuits that are in line with EBU R-128, ATSC A/85 and ITU-R BS.1770 allow to generate true-peak compliant audio signals.

TB Barricade CM comes with Computer Music Magazine issue 199. Click on the picture above to see TB Barricade CM in action.

 

Features :

-Adjustable input gain and maximum output peak level

-Adjustable attack and release times

-ISP/true peak detection for EBU R128, ITU-R BS.1770 and ATSC A/85 true-peak compliance

-Monitor function to listen to the limiter operation without loudness gain

-Peak, K12, K14 or K20 output metering including RMS according to the Katz metering specifications

-User-selectable AES17 3dB correction for RMS meters

-Support of all sampling rates from 22 to 192 kHz

-Peak, RMS and gain meters with peak hold functions

-Quantizer, dithering and perceptual noise shaping module for high-quality bit-depth reduction

 

TB Ferox

Add the warmth and punch of analog tape right within your audio workstation - with TB Ferox tape simulator plugin.

 

Description :

Let’s face it – with all the benefits of digital audio processing and recording (low noise, high dynamic range, virtually flat frequency response, low distortion) it is sometimes difficult to get that fuzzy vintage warmth. This is where TB Ferox comes in. It provides smooth compression and saturation that reminds one of the good old days of tape recording, and allows for additinonal feedback-delay effects, which makes it especially suitable to artistically enhance and enrich individual audio tracks.

 

Features :

-Almost zero-latency processing, allowing for studio and live operation

-Accurate control of compression, saturation and hysteresis character

-Analog-style VU (peak) meters for visual inspection of simulated recording levels

-User-selectable low-complexity or high-quality, oversampling mode

-Variable feedback level and delay to simulate analog echo devices

-Support of all sampling rates from 22 to 192 kHz

-TB Ferox, and its cousin TB ReelBus

-One might wonder what the difference is between TB Ferox and its more advanced cousin TB 

ReelBus:

TB ReelBus is accurately modeled after tape recorders; TB Ferox consists of a more general and simpler tape saturation simulation.

TB ReelBus has tape hiss and asperity noise models, these are not available in TB Ferox.

TB ReelBus has a wide variety of tape models; TB Ferox has saturation and hysteresis controls that can work in 2 modes.

Besides non-linear behavior, TB ReelBus also models certain spectral features of tape, such as the head bump.

TB ReelBus has configurable pre- and post emphasis, not available in TB Ferox.

TB ReelBus has wow and flutter simulation, this is not present in TB Ferox.

In general, TB Ferox has a lower CPU load and is therefore very suitable for individual tracks, while TB ReelBus fits better with busses and complete mixes (although it can sound pretty good on individual tracks as well).

 

TB Dither

World’s first quantization and noise shaping plugin that allows the design of your own noise shaping curve – as easy as working with an EQ!

 

Description :

TB Dither is a plugin designed to modify the bit depth of audio signals, for example when authoring a CD or for archival purposes, with minimum quality degradation. Such process typically involves dithering, quantization, and noise shaping. TB Dither supports industry-standard dithering noise types such as RPDF (rectangular probability density function, 1 LSB wide) and TPDF (triangular probability density function, 2 LSBs wide). A GPDF (Gaussian probability density function) is provided as well.

TB Dither’s uniqueness lies in the flexibility to shape and minimize the audibility of noise inherently introduced by bit depth reduction. Instead of providing a very limited set of a few, fixed noise shaping curves, TB Dither allows you to design the spectrum of the quantization noise using familiar tools such as low-shelf, high-shelf and peaking filters, just as any equalizer! This provides an unprecedented ability to adjust quantization noise spectra according to the audio content, and envisioned reproduction system(s). If you can work with an EQ, you can work with TB Dither!

To get started, no less than 7 different noise shaping curves are provided and can be recalled from a menu, ranging from threshold-in-quiet curves, inverse dB(A) weighting, inverse ITU-R 468 curves, and several more.

Audibility of sample rate and bit depth reduction

According to double-blind tests, the only audible effect when converting high-resolution audio to a sample rate of 44.1 kHz and 16 bits is the injected (dithering and quantization) noise. TB Dither resolves this by decreasing the quantization noise level in the frequency range the human ear is most sensitive to, and thereby increasing the dynamic range for those frequencies beyond the 16-bit limit. The audio example below clearly shows this benefit.

Dithering and information theory

When working with TB Dither, there are a couple of things one should know about quantization and the resulting quantization noise. Bit depth reduction will always introduce errors. If approprate dithering is applied, these errors will manifest themselves as spectrally flat (or white) noise. With additional noise shaping techniques, we can change the spectrum of that quantization noise to make it less audible. A very common approach is to reduce the noise level in the frequency region the human hearing system is most sensitive to (1 kHz to 10 kHz, approximately). Such noise shaping is, however, subject to information-theoretic limitations, the most important one being that the total amount of noise cannot be reduced, only be increased. In other words, decreasing the noise level between 1 and 10 kHz will always result in an increase of noise below 1 kHz and/or above 10 kHz!

Fortunately, as end-user of TB Dither, you do not have to worry about information-theoretic principles. The way it works is as follows. Use the four noise shaping sections to construct a desired noise spectrum, in the same way you operate an equalizer. TB Dither will, in real time, automatically find the best-possible realization of that curve by shifting the curve up and down such that the overall quantization noise level is the lowest possible noise level for that specified curve. An example is given in this screenshot. The colored areas indicate the targeted spectrum, while the white curve shows the resulting noise spectrum, compared to applying no noise shaping at all. In this example, the quantization noise has been reduced by up to 20 dB for frequencies below approximately 10 kHz, at the expense of an increase of noise in the frequency region humans are not so sensitive to.

 

Audio example

The benefit of TB Dither is best preceived when quantizing audio to a very low number of bits. The example wave-file below has been quantized to only 8 bits per sample, either with the industry-standard TPDF dithering, or with TB Dither with noise shaping enabled.

 

Features :

-Zero-latency processing

-Support of all sampling rates from 44.1 to 192 kHz

-Supports industry-standard RPDF and TPDF dithering noise

-Unrivalled flexibility to shape dithering and quantization noise

-Suports any bith depth between 8 and 24 bits

-Dedicated modes to listen to quantization noise only

-Advanced noise-shaping overload protection algorithm

 

TB Module

Chorus, echo, phaser, tremolo, auto-pan, tape delay,… A wide variety of modulation effects in a single processing framework.

Description :

TB Module is a generic framework for a wide variety of feedback, non-linearities and modulation effects. It consists of a set of serialized processes such as panners, delays, filters, decimators, quantizers, and sound-field rotation with user-controllable feedback. The saturation effect is ported from TB Ferox, and the quantizer/decimator is ported from the acclaimed TB TimeMachine plugin. In combination with 2 LFOs, effects such as chorus, tremolo, auto pan, and phaser are created easily. Moreover, because of its generic approach, TB Module allows for hybrid combination effects as well.

Exemplary demo

A very short demo file of what Module can do is given below. Some drum loops are first presented dry, and subsequently with one or two instances of Module (and a tad of TB Reverb).

 

Features :

-Zero-latency processing

-Support of all sampling rates from 44.1 to 192 kHz

-Wide variety of integrated processing elements allowing great flexibility and creativity

-2 low-frequency oscillators (LFOs) with assignable outputs

-Feedback with both positive and negative polarity

-Delay and LFOs can be synced to the host tempo

 

TB BusCompressor

High-quality, transparent dynamics processor with adjustable knee and auto-release functionality suitable for single tracks as well as complex mixes. 

 

Description :

TB BusCompressor is a very transparent, all-round dynamics processor designed to be able to handle everything from single tracks to complex, full mixes. Even with ultra-short attack and release settings, harmonic distortion is extremely low (often better than -150 dB re FS*), and CPU load is typically below 0.5% (depending on hardware).

Besides the conventional controls for threshold, ratio, attack and release, TB BusCompressor features a variable soft knee, a dry/wet mixer for New York / parallel compression, a dedicated ‘upward compression’ mode, and an auto-release mode. Furthermore, the amount of bass fed into the side chain / level detector can be adjusted as well in a dedicated ‘expert settings’ menu.

*Measured with a 1-kHz sinusoidal test signal sampled at 44.1 kHz, shortest attack and release settings, and dynamic release option set to 100%.

 

Features:

-Support of all sampling rates from 44.1 up to 192 kHz

-Transparent compressor suitable for a wide range of audio material

-Auto-release mode, and variable ‘dynamic release’ operation

-Upward and downward compression modes

-New York style / parallel compression supported by integrated dry/wet mixer

-Very light on the CPU

-Visual indication of effective compressor curve, including effect of dry/wet mixing

 

TB FlX

Dynamic equalizer – blending flexible dynamics processing and spectrum equalization in one optimized plugin.

 

Description :

Equalizer sections and filter types

TB FlX (“Flex“) combines equalization and dynamics processing in one go. It works just as most equalizers; it has 6 filter sections with lots of controls to modify their effect on the spectrum. More than 30 filter types are currently supported, which include classic analog peaking and shelving filters and resonating low- and high-pass filters. Besides these conventional filter types, some not-so-common or entirely novel filters are available as well:

Bell-shape filters that have a flatter top than analog filters, to give a more natural sound;

Non-resonating shelving filters to allow for steeper filter slopes;

Gaussian filters, because these filters have the shortest possible group delay;

Gammatone filters, because they closely mimic the frequency analysis of our hearing system;

Linear and logarithmically-spaced harmonic filters, for creative effects;

Brick-wall highpass, lowpass, and bandpass filters;

Analog resonating highpass and lowpass filters (order between 1 and 16);

Analog bandpass filter;

Spectral balance filter;

and several more.

In the unlikely case that you want to create a filter shape that is different from any of the included ones, TB FlX supports a so-called ‘auto node link’ mode. In this mode, the filter shapes will be automatically constructed such, that their combined effect will give a smooth, interpolated curve through all nodes that were configured as ‘auto node link’ filter.

Each filter section has its own ‘amount’ control to modify how much of that filter is actually applied to the audio signal. Furthermore, the filter can be applied in stereo, left only, right only, mid only or side only channels.

Linear phase or minimum phase?

We have closely followed the sometimes intense debates on minimum phase and linear phase equalizers, and the pros and cons of each of them. We understand that you appreciate the surgical editing precision of linear phase, and the snappy, accurate time response without pre-ringing of minimum phase. Wouldn’t it be great if these benefits could be combined in one algorithm, without their cons?

TB Flx has the potential to solve the minimum vs linear phase debacle for once and for all by introducing ‘auto phase’. The phase response of the equalizer is dynamically adjusted to give the best of both worlds, continuously adapted to the input signal and the desired equalizer curve.

Dynamics processing without limits

Each filter section also has a dedicated dynamics processing (compressor) stage. This means that a filter response can become more or less active depending on the input signal level. The compressor input/output curve is configured by dragging nodes in an input/output graph. This way, the input/output curve can be configured beyond what is possible with conventional compressors using threshold and ratio controls. Expansion, downward compression, upward compression, positive or negative ratios, parallel compression, New-York style compression (via the ‘amount’ control) are all easy to set up, and can be configured for each filter section independently. Of course you can set the attack and release times, and an auto-release (AR) function is supplied as well.

The level detector of each compressor section also has some innovative features. Besides being able to respond to stereo level changes, the level detector side chain can also operate on mid only, side only, left or right only, and even on the side-over-mid ratio!

Putting it all together

All user-accessible and internal parameters are interpolated automatically with maximum precision, using 4 times oversampling. This gives ultra-smooth, zipper-noise free behaviour for no-compromise, professional-grade output quality. And did we mention the integrated DC-reject filter (DCF)?

External sidechain

FlX comes as a set of two plugins. The first, FlX, has stereo inputs and outputs. The second, FlX4, has four inputs to allow for external side chain inputs. The external side chain allows an EQ curve to be controlled by another track. For example, in this way certain frequencies in one track can be automatically attenuated or amplified when another track becomes active. This can help in bringing forward certain elements of a mix, or can be used as an artistic effect.

 

Features :

-More than 100 parameters to shape the sound in a clean and simple interface.

-6 filter sections with many controls to modify their behavior;

-More than 30 filter types, including a unique ‘auto node link’ filter type

-3-node dynamics processing editor for each filter section

-Manual and auto-release (AR) option

-Integrated output spectrum analyzer with zoom functionality

-Set of two plugins – one with external side chain facility

-Unique, innovative auto-phase filter mode for high-resolution transient response

 

TB ReelBus

Authentic analog tape simulation plugin carefully modeled after legendary Japanese and Swiss reel-to-reel recorders.

Description

TB ReelBus is an analog tape recording simulator that aims at accurate, authentic simulation of all properties related to tape, including its frequency and level dependent saturation, inter-modulation effects, bias dependencies, tape hiss, asperity noise, wow and flutter, and clipping of electronic circuitry. It is especially suitable for bus processing (including the master bus) to subtly sweeten and enhance the sound.

TB ReelBus contains several preset recorder simulations, which can be adjusted individually by offsetting the tape hiss, asperity noise, amount of spectrum and saturation processing, and alike.

More information on the development process of TB ReelBus can be found in 3 consecutive blog pages here, here, and here.

Reel comparison

TB ReelBus is probably the most accurate and authentic simulation of consumer and semi-professional reel-to-reel tape recorders available. Listen for yourself and see if you can identify which of the following audio excerpts is a simulation, and which ones are actual tape recordings. Four audio excerpts have been processed as follows:

1 Original, unprocessed file;

2 Real Studer Revox A77mk4 recording (7.5IPS);

3 Simulated Studer Revox A77mk4 (7.5IPS);

4 Real Teac A4300SX recording (7.5IPS);

5 Simulated Teac A4300SX (7.5IPS)

All recordings and simulations were done at relatively hot signal levels to more clearly express non-linear behavior.

Listen closely to the saturation effects, and how background noise levels modulate with the instruments (for example with the kick drum).

To have a fair, unbiased trial, the simulations and real tape recordings have randomly been labeled (A) and (B). Can you figure out which is real and which is simulated in the excerpts below?

 

Features :

-Very low-latency processing (4 samples, compensated for by host) as a result of analog design

-Support of all sampling rates from 44.1 up to 192 kHz

-Adjustable record level with auto level makeup option

-Accurate simulation of existing reel-to-reel recorders with different tape speeds

-Adjustable tape hiss and asperity noise levels

-Adjustable tape spectrum and tape saturation

-Adjustable wow and flutter strength

-Option to amplify bias strength for overbiasing

-Simulation of both tape saturation as well as analog circuitry clipping

-Calibrated analog VU meters

-Each and every processing element carefully modeled after analog circuits and filters

-Complementary, adjustable pre- and de-emphasis in the spectral and spatial domains

 

TB EBULoudness

Stereo and multi-channel loudness measurement plugin compliant with ITU-R BS.1770, EBU R-128, EBU TechRep. 3341, 3342 and ATSC A/85.

 

Description :

The EBU published its Loudness Recommendation EBU R128. It tells how broadcasters can measure and normalize audio using loudness meters instead of Peak Meters (PPMs) only, as is common practice nowadays. TB_EBULoudness calculates k-weighted momentary loudness (LM), short-term loudness (LS), integrated loudness (LI) and loudness range (LRA) compliant with the EBU and ITU specifications, including EBU R128, ITU-R BS.1770, ATSC A/85, and supports EBU +9, EBU +18, and EBU +27 metering modes. Furthermore, true-peak levels (dBTP) are displayed as well. For more information on EBU loudness, please go here. For more detailed information on loudness measurement, the use of loudness meters in a broadcast chain, and an explanation of the various loudness descriptors, EBU has published this very useful document.

Besides compliance to loudness requirements, TB_EBULoudness is also a very useful tool to align or normalize the perceived loudness of different audio tracks (for example on an album). Differences in loudness (expressed as loudness units, or LU) can be directly translated into attenuation or gain expressed in dB to align the loudness of two or more tracks. Furthermore, the loudness range indicator can provide valuable information to verify the dynamic range of a track, and the potential need for dynamic range compression.

Specifically for this purpose, TB EBULoudness comprises 4 additional modes resulting from an intiative of Roland Löhlbach (Studio Compyfox) in confederation with Bob Katz (Digital Domain). Their approach is to re-introduce the K-system scales in the context of the EBU R128 method for loudness management. In short, these scales use -12, -14, -16 and -20 LUFS as 0 LU reference levels, facilitating easy loudness management for music and podcast productions that typically have higher loudness levels than broadcast content. Extensive details on this subject can be found on the blog page of Studio Compyfox.

 

Features:

-Loudness analysis compliant with ITU-R BS.1770, ATSC A/85, EBU-R128, and EBU Tech report 3341 

-Loudness range (LRA) support according EBU Tech report 3342

-EBU mode LUFS, EBU+9, EBU+18 and EBU+27 loudness scales for broadcast production

-K-system v2 scales K-20, K-16, K-14, and K-12 for music and podcast production

-True-peak (dBTP) measurement compliant with ITU-R BS.1770 and EBU-R128

-Support of all sampling rates from 22kHz upwards

-Set of one compact (stereo only) and one full-fledged multi-channel (5.1) plugin

-Ability to sync with play/pause of the DAW host (if supported by host)

 

TB Barricade

Transparent, mastering-grade brickwall limiter with k system peak/RMS meters and EBU R128 / ITU-R BS.1770 compliant ISP/true-peak limiting.

 

Description :

TB Barricade is a simple yet very effective and transparent brickwall limiter that is suitable for individual tracks as well as mastering work. It supports digital peak meters, RMS meters, and gain/attenuation meters, all with peak hold functionality. The meter scales also support the k-system (k12, k14, and k20) layout and ballastics. Last but not least, true peak / inter-sample peak (ISP) detection circuits that are in line with EBU R-128, ATSC A/85 and ITU-R BS.1770 allow to generate true-peak compliant audio signals.

 

Features :

-Fixed delay (1023 samples)

-Adjustable input gain and maximum output peak level

-Adjustable look ahead, attack and release times

-ISP/true peak detection for EBU R128, ITU-R BS.1770 and ATSC A/85 true-peak compliance

-User-controllable stereo linking

-Monitor function to listen to the limiter operation without loudness gain

-Peak, K12, K14 or K20 output metering including RMS according to the Katz metering specifications

-User-selectable AES17 3dB correction for RMS meters

-Support of all sampling rates from 22 to 192 kHz

-Peak, RMS and gain meters with peak hold functions

-Quantizer, dithering and perceptual noise shaping module for high-quality bit-depth reduction

 

TB TimeMachine

Revisit the 4 or 8 bit era and re-create the characteristic sound of 12 bit samplers with TB TimeMachine.

Description :

Awarded as best VST plugin by Computer Music in 2008, TimeMachine is again available as the ultimate digititus creator. It allows to simulate the effect of A/D and D/A aliasing, re-sampling, and bit reduction (both linear and mu-Law quantization).

 

Features :

-Support of all sampling rates from 44.1 to 192 kHz

-Re-sample rate adjustable between 1000 and 44100 Hz

-Bit depth adjustable between 1 and 16 bits on a continuous scale

-Linear or mu-Law quantization, with or without dithering

 

TB Equalizer

Analyze and modify the spectral balance with TB Equalizer – a versatile EQ with digital and analog filter prototypes.

 

Description

TB Equalizer is a versatile equalizer with a wide variety of filter prototypes and channel modes. Each of the 6 filter sections can be configured to run as low cut, low shelf, digital bell shape, analog bell shape, high shelf, notch and high cut filter with variable filter gain, frequency and quality. On top of these standard filter types, Pultec-style low and high shelf filters are supplied as well.

Each filter section can also be configured to run in stereo, left only, right only, mid only, or side only. The overall equalizer curve can be morphed between 100% and -100% continuously.

TB Equalizer has an integrated spectrum analyzer that can display overall power spectrum, left/right pan, and spatial ‘width’ expressed as the ratio of side over mid signal.

 

Features

-Zero-latency processing

-Stereo design with 6 fully configurable, sequential filter sections

-Each filter section has several different filter types

-Each filter section can operate on 5 different channel configurations

-Gain of -20 to +20 dB for each filter section

-Filter quality adjustable between 0.1 and 10

-Overall output gain control

-Support of all sampling rates from 44.1 to 192 kHz

-Integrated power spectrum analyzer

-Integrated spectral pan and spectral ‘width’ analyzer

-Equalizer curve can be continuously morphed between -100 and 100% gain.

 

TB Isone

A virtual monitoring setup with adjustable speakers and room acoustic properties – right from your headphones!

Description

The perfect listening room… Many have experienced the difficulty to realize a listening environment free of standing waves, undesirable reflections, the perfect reverb time, perfect loudspeaker placement with a flat frequency response, and without any disturbance for others.

With TB Isone, a stereo virtual reproduction system and listening room can now be experienced simply using a high-quality headphones. The frequency response and the directivity pattern of the loudspeakers can be adjusted. Furthermore, the reverb time and volume of the virtual listening room and the distance to the virtual loudspeakers can be fully customized.

TB Isone employs real-time HRTF (head-related transfer function) and BRIR (binaural room impulse response) processing in a flexible VST plugin format. This makes Isone the perfect tool for headphone mixing, binaural room and loudspeaker simulation, and 3D virtual audio processing.

 

Features:

-Zero-latency processing, allowing for studio and live operation

-Real-time HRTF and BRIR processing

-Support of all sampling rates from 22 to 192 kHz

-Loudspeaker designer to model frequency response (on axis and 45-degrees off-axis response)

-Customizable room (volume, distance, early reflections, diffusion)

-Customizable loudspeaker azimuth angle (0 to 45 degrees)

-Customizable HRTFs (strength, head size, ear size)

 

TB DeEsser

Reduce excess sibilance from vocals, or apply smooth and natural limiting of high frequencies of stereo mixes with TB DeEsser.

 

Description 

TB DeEsser removes or reduces excess sibilants in vocals (such as ‘sss’ and ‘tth’) without adversely affecting the low-frequency (voiced) parts of the signals. A variable cross-over frequency and de-essing threshold allow for a precise control of the de-essing function. There is no need to adjust attack or release parameters as these properties are automatically adjusted depending on the input signal.

TB DeEsser’s stereo, split-band design also allows for limiting of any excess high-frequency content in other signals including full stereo mixes.

 

Features

-Zero-latency processing

-Stereo design with monitor function to listen to removed sibilance

-Single or split-band operation

-Support of all sampling rates from 11 to 192 kHz

-Variable cross-over freq-uency and sensivity

-Variable amount of sibilance removal

-Variable attack, release, and stereo link properties

 

TB Gate

Reduce any unwanted background noise or create that legendary gated reverb with your reverb of choice and TB Gate.

 

Description

TB Gate is exactly what its name suggests: a very functional and simple to use gate.

 

Features

-Zero-latency processing, allowing for studio and live operation

-Support of all sampling rates from 11 to 192 kHz

-Fully adjustable attack, hold and release times

-Signal level detector with adjustable band-pass filter and variable detection time

 

TB Reverb

Simulate any acoustic environment – from a small room to a warm and dense concert hall with TB Reverb.

 

Description

TB Reverb is a versatile room acoustic simulation and reverberation algorithm. It provides ample controls to change the simulated room, including frequency-dependent reverberation times, room size and shape, variable warmth and cutoff frequencies, and wall diffusion.

 

Features

-Zero-latency processing, allowing for studio and live operation

-Support of all sampling rates from 11 to 192 kHz

-Adjustable room size and shape

-Separate controls for reverberation time and damping character

-Adjustable wall diffusion

-Highly optimized code and low CPU load

 

TB Compressor

Get any audio dynamics under control with TB Compressor – a versatile and advanced VST dynamic range compressor.

Description

TB Compressor is a versatile dynamic range compressor plugin that is suitable for virtually all audio content. Its advanced signal analysis algorithms allow for a very transparent dynamic range modification. Conversely, with manual adjustment of its parameters, the compressor can provide that ‘musical pumping effect’ to spice up your beats. A dedicated dry/wet control provides a hassle-free New York style / parallel compression.

 

Features

-Zero-latency processing, allowing for studio and live operation

-Support of all sampling rates from 11 to 192 kHz

-Accurate time response adjustment with sub-millisecond attack times

-Multi-stage signal analysis algorithms for automated, transparent release

-4 different compressor algorithms included

-Dry/wet control for New York style / parallel compression

-Detector high-pass filter to adjust spectral balance for level detection

-Untuitive display indicating input/output curve and current compressor gain

-Maximum compressor attenuation (range) control

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