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Soundwide Intro Bundle

FX Bundle by Soundwide

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DUO & 2 Months of Auto-Tune Unlimited FREE

Introducing Soundwide

Elevate your sound with 15 powerful plug-ins for one great price. Whether you’re just getting started or a seasoned pro, this bundle has something for everyone.

Bundles includes:

iZotope RX Elements
iZotope Ozone Elements
iZotope Neutron Elements
iZotope Nectar Elements
iZotope Trash 2
iZotope VocalSynth 2
iZotope R4 by Exponential Audio (Exponential Audio)
iZotope NIMBUS by Exponential Audio (Exponential Audio)
Native Instruments MASSIVE
Brainworx bx_digital V3
Brainworx bx_subsynth
Brainworx bx_console N
Brainworx bx_stereomaker
Brainworx bx_delay 2500
Native Instruments GUITAR RIG 6 LE

MASSIVE

The Heavyweight Synthesizer

The synth that defined bass music, this powerhouse synthesizer is an uncompromising sonic monster and the go-to choice for bass music and electro producers.

Massive is a sonic monster – the ultimate synth for basses and leads. The virtual-analogue concept belies the contemporary, cutting-edge sound it generates. Clearly laid out and easy to use, Massive gives you earth-shuddering sounds from the very first note.

Massive gives your tracks a solid foundation with the creamiest, punchiest basses. Razor-sharp leads cut through the mix even with grit and dirt piled high. And an overwhelming array of wavetable oscillators, modulation options, and filters, and effects offer a sonic spectrum as broad as it is inspiring.

Massive contains over 1300 sounds, all crafted by leading artists and sound designers. The efficient search and intuitive filter functions let you find presets according to specific characteristics and attributes – a particularly musical and intuitive approach.

Macro Controls

Massive's macro controls offer fast, direct control - automatically mapped to the eight macro knobs on all Komplete Kontrol S-Series keyboards, and all Maschine hardware.

All of a sound's most important parameters are pre-configured and mapped to these controllers. A single controller can handle multiple assignments – for example, just twist 'Rhythm' and watch how multiple underlying parameters change simultaneously.

The macro controls enable you to customize any of Massive's presets instantly and profoundly, without having to understand the technical structure of the sound. The macro controls essentially turn each sound into a set of possible sounds that seamlessly morph into one another.

Moreover, the macro controls are the most important interface to other applications. They are targets for MIDI assignments, which are easily set using the MIDI Learn function. They are also the first eight parameters that are reported to any host when Massive is used as a plug-in.

Sound Synthesis

Massive's sound synthesis is based on a unique Wave Scanning algorithm, implemented in three parallel oscillator modules. It combines the highest sonic quality with utmost flexibility and controllability. Think of a Wave Scanning oscillator as a multi-track sequencer; one of the tracks contains a saw wave and the other a pulse wave. In the vertical dimension, each of Massive's oscillators allows these tracks to be faded seamlessly into one another. In the horizontal dimension, a single cycle's read-out speed curve can be manipulated in three different bending modes.

Massive features an unlimited number of these "tracks" in each wavetable as well as two additional manipulation modes relevant for time and frequency settings. Of course, the “tracks” are not restricted to usual sawtooth or pulse waves.

Massive comes with 85 specially designed wavetables, each one with a unique combination of waveforms and particular sonic characteristics. Finally, a modulation oscillator can be used to vary the main oscillators' signal. It can be used for ring modulation, phase modulation (which sounds similar to FM) as well as further modulation modes. A noise generator provides an additional signal source that can be mixed in with the other signals, generating particular effects. It can, for instance, be used in combination with Massive's comb filters for a physical modelling approach to sound design.

Flexible Routing

Massive's basic structure conforms to the well-known subtractive synthesis paradigm, making it easy to understand while simultaneously ensuring the signal flow is highly flexible. You can place two insert effects at various places within the signal flow. You can also take the signal at any point and route it back to the beginning. For example, you can filter a sound and feed it back into the filter's input. This can create very lively and dynamic results. The flexibility is further increased by placing an insert effect into the feedback path.

You can route any of the oscillator’s signals directly to the synthesizer's output, bypassing all filters and/or master effects. This feature allows a direct 'punch' to be added to layered, highly modulated sounds, for example, to add a sub-bass.

Modulation Sources

Massive features several types of modulation sources that, thanks to the innovative user interface, can easily be assigned to any of its parameters. Multiple parameters can be assigned to a single macro control, bundling technical settings into a single control – a far more musical approach. For instance, you can assign both the filters' cutoff frequencies to one macro control and label it as "Brightness".

The envelopes in Massive feature an advanced loop mode: a part of the envelope can be looped and you can morph between different transitions or crossfades for the defined loop start and end points. Various other options make Massive's envelopes truly unique.

Massive contains two step sequencer modes: While the Stepper conforms to the well-known, established operating modes, the Performer allows each step to be shaped individually, making it ideal for advanced rhythmic structures. A flexible low frequency oscillator completes the list of modulation sources. The variety of possibilities is as wide as it is fast to use. This is further enhanced by the inclusion of templates for standard tasks for all the modulation sources, such as envelopes, LFOs, steppers and performers. For example, setting an envelope to a generic ADSR shape is a quick, one-click issue.

Change The Framework

Massive's various global settings pages allow a variety of parameters to be adjusted – parameters that most other synthesizers leave unmentioned and unadjustable. Massive unveils their true sound design potential. The Keytracking pages map the incoming pitch information generated by your keyboard or sequencer individually for each oscillator and filter. There is even separate keytracking control over the filters' cut-off frequencies and other additional parameters such as a bandpass filter's width or a comb filter’s feedback. This allows effects to be created that can be controlled by simply playing your keyboard.

Like in most synthesizers, you can adjust glide times between pitches when you play legato notes. Massive goes a step further, allowing the pitchbend range or the phase of each oscillator to be adjusted. The Voicing page allows switching between polyphonic and monophonic voice handling as well as several voice trigger options, for example playing musical-sounding trills easily with your keyboard.

Several voices can be triggered by a single note. Much like an orchestra where several violins play the same 'voice', making the sound warmer and more lively, the unisono feature makes your sound thick and vivid. This feature can also be adjusted to extreme settings, spreading your voices over several octaves or filling the stereo panorama – all with just one single note being played.

The Library

Massive contains over 1300 production-ready sounds, including the full libraries from former products 'Massive Expansion' 1 and 2, 'Urban Arsenal' 1 and 2, and 'Massive Threat'. All have pre-defined macro controls and all have been crafted by professional sound designers and well-known artists. The spectrum of styles included is as wide and varied as music itself, bound to inspire you no matter what the flavour of the piece you're currently working on.

The browser, besides being intuitive and easy to handle, delivers results in an instant.

Guitar Rig LE 6

Guitar Rig Revamped

Guitar Rig 6 Player offers a range of high-class modular components, effects, and routing tools. For classic power and gain the Tube Compressor and Skreamer really come into their own, while a range of high-end effects such as the Studio Reverb and Delay Man can add that special touch. Choose from many Amp and Envelope modifiers, as well as routing tools, to further shape your sound to perfection.

Guitar Rig 6 Player is based on the powerful Guitar Rig 6 Pro, providing you with a straightforward and easy user interface with professional components. The newly developed preset browser makes it even easier to find and organise your effect settings. Drag and drop components to the rack to create your own custom effect chains, and quickly adjust the settings to create the sound you want.

Integrated MIDI Learn and automation tools streamline your workflow, while the Live View is useful for performing. There’s even a range of ‘helper’ tools - a Metronome, two Tapedecks for easy recording and play-along, a Tuner, and a Preset Volume tool, with Dry/Wet setting at your disposal.

Amp And Cabinet

Jump Amp with Matched Cabinet: The sound of the Jump is a classic choice, perfect for smooth, singing leads that characterize the much-loved sound of British amps. Its Matched Cabinet perfectly complements the amp, completing this essential, ready-to-rock duo.

Reverbs And Delays

Studio Reverb: The Studio Reverb provides a realistic emulation of halls and rooms.

Delay Man: The Delay Man is a warm and flexible delay unit with built-in chorus and vibrato.

Twin Delay: The Twin Delay combines two parallel delay modules to provide advanced stereo effects. Each of the delayed signal chains is assigned to one of the stereo channels and features a full set of control.

Distortion

Skreamer: This warm, smooth-sounding overdrive is perfect for rhythm guitar and silky, clear-cut leads.

Modulation

Chorus/Flanger: This delay-based unit can create chorusing, flanging, and pitch modulation effects, depending on the Mode switch.

Equalizers And Filters

EQ Parametric: A parametric equalizer is a highly sophisticated form of tone control, allowing you to boost or attenuate a continuously adjustable range of frequencies, with a variable bandwidth from broad to sharp.

EQ Shelving: A shelving equalizer combines a hi-pass and a low-pass filter to boost or attenuate the frequency ranges above and below their frequency limits, while the midrange frequencies remain untouched.

Dynamics

Limiter: A limiter works like a compressor with a high compression ratio and short attack time.

Volume: This simple volume control can attenuate or boost the level at any point in the signal chain.

Tube Compressor: A compressor evens out dynamic contrasts by attenuating signals above a threshold.

Noise Gate: A noise gate helps remove noise and hiss, but can also be used as a special effect.

Noise Reduction: The Noise Reduction component is similar to the Noise Gate, but has a softer effect.

Pro-Filter: The Pro-Filter is based on a filter included in Native Instruments’ legacy software synthesizer Pro-53.

Modifier

LFO: The term LFO (Low Frequency Oscillator) refers to a periodic waveform at a subsonic rate. As a Modifier, this is useful to create constantly changing parameter values. Create tremolo effects, synced rhythmic filter sweeps, or swelling distortion.

Envelope: The envelope generates a very flexible control signal, whose shape you can edit accurately using a graphical editor.

Step Sequencer: The Step Sequencer generates up to 16 sequential control signals, which can have rhythmic values of quarter notes to 1/32nd notes.

Analog Sequencer: The Analog Sequencer works much like the Step Sequencer, but you can change the value of each control signal to create more complex rhythmic patterns.

Input Level Modifier: The Input Level Modifier generates a control signal based on the input level of the rack.

Tools

Split: This component splits the signal into two parallel paths, which is especially useful for stereo effects and to mix the sound of two independent effect chains.

Crossover Mix: This component allows for parallel effects similar to the Split, but uses a variable threshold frequency to separate the higher parts of a signal from the lower parts.

Container: This is a utility for creating custom multi-effects. Assemble your processing chain, then assign the eight macro-knobs to the key controls on any of the effects in the chain. You can even assign a knob to several controls at once.

Sidechaining

Sidechaining: Several effects have been given a sidechain input. This essential enhancement provides much more than the characteristic ducking/pumping sound, allowing a wide range of creative techniques.

VocalSynth 2

Vocals, Evolved.

VocalSynth 2 is an immersive vocal experience that adapts and adapts and evolves with your unique style and opens up a world of vocal possibilities. Color and shape vocals with five blendable eccentric-must-haves and stompbox-style studio effects. A one-stop for past, present, and future vocal sounds, VocalSynth 2 features a Vocoder, Compuvox, Polyvox, Talkbox, and Biovox: a brand new effect based on the sonic qualities of the human vocal tract.

Features

Biovox: Using scientific modelling of a human vocal tract, adjust human vocal characteristics like nasality, vowel shapes, and formants for a smooth, textural vocal treatment to any audio signal.
Stompbox-style effects: VocalSynth 2’s effects include two brand new pedal-style effects: Chorus and Ring Mod with a unique tremolo effect. Now drag to re-order all seven effects including an improved Shred with sequencer as well as Distort, Filter, Transform, and Delay.
3 ways to play: VocalSynth 2 is built to be flexible, giving you three ways to interact and create: Auto Mode, MIDI Mode, and Sidechain Mode.
Inter-plugin communication: Use VocalSynth 2 within Neutron 2’s Visual Mixer and Masking Meter, as well as Tonal Balance Control for a bird’s eye view of your music production at all times.
Extensive sonic enhancements to the Vocoder module as well as Talkbox, Polyvox, and Compuvox that improve usability, CPU utilization, and sound quality.
Reimagined interface with deep control: VocalSynth 2 includes a brand new, modern interface and the addition of advanced synthesizer controls for each individual module. Paired with a fluid, evolving visualization, VocalSynth 2 is primed for hours of creativity with you at the helm.

Learn more about VocalSynth 2.

NIMBUS (Exponential Audio)

Natural Stereo Reverbs with Powerful Control

NIMBUS elevates the signature Exponential Audio reverb engine with surgical controls and timbral effects. Authentic, classic tone meets advanced filter mechanics, compression, overdrive, tempo-syncing, and warp effects, so you’re sure to have the perfect reverb for your music.

Key Features

Natural stereo reverb algorithm
Warp controls with compression and overdrive
Pre-delay and reverb delay adjustable by tempo
5 additional early reflection patterns and additional plate reverb algorithm
Dynamic tail suppression to lower reverb in louder parts of a mix
Over 1,200 presets (rooms, plates, halls, chambers, and more)
EuControl support

Learn more about NIMBUS.

R4 (Exponential Audio)

Lush stereo reverbs with powerful control

R4 delivers the historic warmth of time-tested reverb hardware units with expanded creative control. Add personality and depth to your music with reverb designed to color your mixes without compromising clarity. For less traditional projects, use creative effects like Warp and Freeze to mangle your reflections beyond recognition and create twisted time effects to take your audience by surprise.

Key Features

Lush stereo reverb algorithm
Warp controls with compression and overdrive
Create ambient drones and texture with Freeze
Pre-delay and reverb delay adjustable by tempo
Chorus and Gate modules for musical effects
5 additional early reflection patterns and an additional hall algorithm
Dynamic tail suppression to lower reverb in louder parts of a mix
Over 1,200 presets (rooms, plates, halls, chambers, and more)
EuControl support

Learn more about R4.

Trash 2 + Expansions

Distort. Mangle. Transform

Trash 2’s multi-band, dual-stage distortions and advanced post-filtering enable immediate sonic transformation. Trash any track: not just guitars and basses, but drums, synths, pads, vocals, brass, woodwinds, and more.

Features

Experiment with 20+ sweepable filters for a variety of clean, juicy, and harsh tonal options.
Get twice the filter action with brand new Filter 1 and Filter 2 modules.
Add LFO and envelope modulation per node to get wahs, wubs, tremolos, and other sweeping effects.
Let your Filter settings react dynamically to other incoming audio with new sidechaining support.
Put both Filter modules in parallel to achieve different combinations of filter settings simultaneously.
Delay, Dynamics and Output Limiter features.

Learn more about Trash 2 + Expansions.

The iZotope Elements Suite combines 4 powerful, award-winning audio technologies in one package: RX Elements, Neutron Elements, Nectar Elements, and Ozone Elements.

Ozone Elements (NEW!)

The future of mastering

The brand new Ozone Elements delivers essential mastering tools in one affordable package. Balance your audio in stereo with an improved Imager, featuring a new “Stereoize” mode that can bring transparent width and depth to narrow mixes. Quickly create a custom preset with Master Assistant, which listens to your audio and makes suggestions for loudness and tone. Work faster with improved plug-in performance, smoother metering, and resizable windows that let you see more of your sound without taking up your CPU. It’s the easiest way to get your music ready for primetime.

Learn more about Ozone Elements.

Neutron Elements

The modern way to mix

From the makers of popular audio plug-ins like RX and Ozone, Neutron 3 is designed to bring your mix workflows into the 21st century. The completely new Neutron Elements includes 4 powerful tools for great mixes for less than the cost of a single plug-in. It’s the easiest way to get your feet wet with all the tools Neutron has to offer and add some serious power to your plug-in collection. It’s the easiest, most intelligent way to bring unrivalled quality and speed to your mix.

Learn more about Neutron Elements.

RX Elements

Essential audio repair at an affordable price

RX Elements is the perfect introduction to the world of audio repair, offering essential plug-ins and modules to remove noise, clipping, clicks, hum, and other problems in dialogue and music productions that plague small studios. Get four of iZotope's best repair modules, also available as plug-ins. This includes the completely overhauled De-hum module, which now features increased precision for better hum detection and new parameter controls for fine-tuning.

You also get a standalone audio editor featuring the groundbreaking Repair Assistant, and an intuitive Spectrogram editor—now with horizontal scrolling—all at an affordable price. If you're just getting started in the world of home recording or need a quick fix for problematic production audio, RX Elements is your go-to solution.

Learn more about RX Elements.

Nectar Elements

Vocals, in the mix

Give your vocals professional clarity and polish with Nectar Elements. Using the new Vocal Assistant, Nectar Elements analyzes and adapts to your vocal sound, taking the guesswork out of placing your vocal in the mix and letting you make your vocals stand out in just a few clicks.

Learn more about Nectar Elements.

bx_console N

There’s something magical about the sound of a large-format Neve console that you just couldn’t get from your DAW until bx_console came along. Brainworx’s revolutionary plugin delivered a startlingly realistic model of the rare 72-channel Neve® VXS™ analog console owned by producer/engineer Dirk Ulrich, Founder and CEO of Brainworx.

Thanks to Brainworx’s pioneering Tolerance Modeling Technology (TMT, US Patent No. 10,725,727), every one of bx_console N’s selectable 72 channels simulates a different Neve VXS channel by modeling the slight channel-to-channel variances in the values of its analog components. Strap a bunch of bx_console N plugins across your mix, and you get the deep, wide and punchy multi-channel analog sound of the classic Neve VXS—inside your DAW!

No Two Channels Sound Exactly Alike — Just Like with Analog

Typical channel strip plugins only model ONE channel of a mixer. No matter how many instances of that one-channel plugin you use, you get the same equalization curves, compression times, and frequency & phase responses.

Even if you use different control settings for the plugin on every track, you end up with flat, narrow, two-dimensional digital sound.

In contrast, each channel on a large-format, analog mixing console sounds a little different, creating a much more complex and dimensional sound. That’s what bx_console N does too. The plugin uses Brainworx’s proprietary, patented Tolerance Modeling Technology (TMT, US Patent No. 10,725,727)) to accurately replicate variations in the values of over 150 individual electronic components specified by the original Neve console designer, giving you the deep and wide “mixed on a big Neve analog console” sound your DAW has been starving for.

The Sound, Feel and Workflow of a Neve VXS Console—In Your DAW!

Each instance of bx_console N includes meticulous models of the comprehensive Compressor/Limiter, full-featured Expander/Gate, powerful 4-band EQ, and wide-ranging High Pass and Low Pass filters in the Neve VXS analog mixing console. But because bx_console N was designed using TMT, the EQ and Dynamics curves for these processors are a little different on each and every channel - like in a real VXS console. These slight variations add the complexity, nuance, depth and width that only analog could give you - until now.

More Powerful Than The Original

bx_console N adds many Brainworx modifications and new, contemporary features lacking in the original Neve VXS console, greatly increasing the plugin’s flexibility. The Compressor/Limiter’s new Mix (Dry/Wet) control is your ticket to crafting monster drum sounds and in-your-face guitar tracks using parallel compression.

Unlike with the original VXS console, you can adjust the threshold for the Compressor’s secondary release time to keep it from pumping and whipsawing delicate acoustic guitar tracks. Raise the dedicated HPF control in the Compressor’s sidechain — another plugin-only feature — to keep heavily compressed drum and electric bass tracks sounding punchy, and leveled male vocals sounding warm and round.

One mouse click switches the EQ from post- to pre- Compressor, helping you to craft a huge but controlled bottom end on bass tracks and full mixes. Boost the THD control to lather vocals, bass, electric guitar and drum tracks with lush saturation, independently per channel, adding girth and density.

While you’re mixing, simple mouse clicks in the plugin toolbar let you alternately solo mid and side channels on stereo tracks, helping you to hunt down undesirable distortion and phase problems in a heartbeat. bx_console N is a Neve VXS console on steroids!!

No, this is not just a "channel strip" model.
bx_console N is a complete 72-channel analog console inside your computer!

Features

Models the rare, large-format Neve VXS analog mixing console, offering 72 different TMT channels
Full-featured channel strip includes a Compressor/Limiter, Expander/Gate, 4-band EQ, and wide-ranging High Pass and Low Pass filters
Tolerance Modeling Technology (TMT, US Patent No. 10,725,727) simulates channel-to-channel variances in electronic components for the most realistic analog sound
Gate features continuously variable Hysteresis control that prevents on-off chattering when input signal level fluctuates around the threshold
Continuously variable THD control adds colorful saturation independently per channel
Continuously variable Virtual Gain control adds simulated analog noise independently per channel for extra analog vibe
Comprehensive metering and monitoring facilities incl. M/S solo features

bx_delay 2500

The bx_delay 2500 has been developed by Brainworx from the ground up and features a clear, intuitive interface that allows you to get to the delay effect you want quickly. Its glitch-free delays are perfect for automated delay time changes for stunning non-static sounds.

bx_delay 2500 has all you need to create everything from simple delay patches to experimental soundscapes and crazy cool beats. This is your new go-to delay.

By adding an extensive suite of effects to bx_delay 2500 Brainworx have created the perfect environment in which to create wild delay patches. Distortion, chorus and ducking have all been included to sculpt your perfect delay effect.

Using the now famous Brainworx M/S processing you can not only increase the width of any patch but critical low frequencies can also be controlled. The Mono Maker allows you to ensure everything below a specified frequency is perfectly in the center of the mix while your stereo image is left intact.

Features

Get to the delay effect you want quickly using the clear and logically structured interface.
Ducking on board!
Achieve unusual results by adding chorus and distortion to the delay line.
Take control of your delay effects with built in M/S processing.
Utilize the unique transient shaping feature to control the dynamic signature of the delay signal.

bx_digital V3

Brainworx's revolutionary flagship product, bx_digital, was the first commercially available Mid/Side equalizer plugin, and it still reigns supreme today as the EQ for mixing and mastering.

The seminal plugin's first major upgrade, bx_digital V2, was voted #1 Best Plug-in of the Decade by Future Music and quickly became the standard by which other equalizers are judged.

The 11-band equalizer's forward-thinking feature set includes parametric bell, high- and low-shelving, and high- and low-pass filters for each channel; mono, dual-mono (L/R), stereo and mid-side modes of operation; a mid-side decoder (especially useful for recording acoustic instruments, drums and even bigger ensembles in a super mono-compatible and extremely natural way); spectrum-balancing Bass and Presence Shifters; the pioneering Mono Maker summing tool; and comprehensive imaging, monitoring and metering facilities for high-level mastering.

Now Even More Powerful

With the release of bx_digital V3, the bar just got raised again. The major update extends the High Frequency band's upper range to 40 kHz to sweeten and add ‘air’ to high-resolution audio tracks, mixes and masters. A Dynamic EQ module, API-style Proportional Q filters and six notch filters (three per channel) have been added to handle any surgical mix or mastering task, making it a perfect tool for film mixing and post production as well. The unique Bass and Presence Shifters have been made much more versatile, each now offering a selection of three different tilt filters that balance and unmask hidden details in your mixes.

V3's transparent high pass and low pass filters now provide alternate slopes to sculpt your tracks' high and low end and selectively weed out rumble and hiss with greater precision. And the new, global Gain Scale control makes proportional gain changes to all parametric, shelving, and Bass and Presence Shift filters at once—preserving your carefully wrought balance across all bands as you dial in the perfect overall amount of EQ.

All this power comes in two workspaces—separate component plugins for mixing and mastering—to help you work faster. On individual tracks that don't need surgical equalization, the "bx_digital V3 mix" plugin simplifies operation by excluding mid-side processing and additional meters. On your main subgroups and the master stereo bus during mixdown and mastering sessions, use the "bx_digital V3" plugin to roll out the big guns: a full complement of Mid/Side equalization controls and separate meters for pre- and post-EQ signal levels, L/R balance and correlation. Advanced imaging controls let you independently pan your mix's mid and side channels, widen the stereo image, swap left and right channels and center the phantom stereo image.

V3 for Clearer and Cleaner-Sounding Mixes and Masters

V3 is not a "character" EQ. It's eminently pristine, using ultra-transparent filters that minimize phase shift and frequency masking to deliver clearer and more focused mixes and masters. The Bass and Presence Shifters produce opposing boosts and cuts in adjacent bands to prevent excess spectral energy buildup that can make mixes sound boomy, blurry or edgy. Each Shifter in V3 offers a selection of three different tilt-equalization sounds featuring different boost and cut frequencies, bandwidths and relative gain.

Use them, for example, to boost your mix's low-bass punch while simultaneously clearing out muddy upper-bass and low-midrange frequencies. Or increase presence to spotlight guitars and vocals, while softening searing cymbals. You'll work faster: a mouse click and single knob twist are all it takes!

V3's new Proportional Q filters are another huge plus. These filters progressively adapt the Q as you increase or decrease gain, focusing your boosts and cuts exactly where they're needed and without suffering tradeoffs in neighboring bands. Boost bass frequencies on male vocals to accentuate the singer's powerful chest register—without muddying the lower midrange. Cut honky midrange frequencies on the kick drum track while fully preserving the beater's high-frequency slap. V3 is precise.

The V3 update also updates the simple De-Esser that was included in bx_digital V2 to a much more versatile Dynamic EQ that can compress or upwardly expand any frequency band from 20 to 22 kHz. Sure, the Dynamic EQ can still de-ess sibilant vocals and cymbals. But you can also use it to automatically attenuate bass frequencies on an acoustic guitar track only when the guitar gets boomy, leaving it unprocessed at all other times. Or use it to boost bass drums in complex signals. You can also tame the high frequencies of a vocal performance automated, only when a singer hits the top of their range.

The Dynamic EQ is all about consistent tone—and less need for time-consuming EQ automation. Setup is a snap: a Solo function lets you hear the frequency band that the Dynamic EQ will treat as you dial it in. Set the Speed switch to Fast to nip speedy sibilance in the bud or Slow to tame boomy bass frequencies without pumping. Place the Dynamic EQ before or after V3's main filter section with the click of a mouse.

V3's innovative Solo functions help you make smarter EQ decisions while working fast. Activate the Auto-Solo and Auto-Listen switches to add touch-sensitive functionality to Gain, Q and Frequency controls in all bands. With Auto Listen, the Gain and Q controls will automatically solo the respective changes they apply to each band, while doing the same to a Frequency control will automatically solo the filter in the channel. Auto Solo automatically switches monitoring to the respective channel (M or S, L or R) on which Gain, Q and Frequency are being adjusted. Separate frequency-response graphs for each channel constantly update to illustrate the results of your tweaks. You'll see and hear your EQ adjustments like never before.

Features

Three operational modes: L/R (dual-mono), M/S Master (Mid/Side) and unique M/S Recording (processes Mid/Side signals in real-time and outputs L/R stereo)
Mono, dual-mono, stereo and Mid/Side configurations, multi-mono (Surround)
Two component plugins simplify and speed workflow for mixing and mastering
Eleven broadly overlapping bands per channel
LF, LMF, MF, HMF and HF bands are fully parametric (offering separate Gain, Q and Frequency controls in each band) and can be switched globally for Proportional Q response
LMF, MF and HMF bands each provide notch filtering at their lowest gain setting, while offering adjustable Q per band
LF and HF bands provide respective low- and high-shelving EQ at their lowest Q setting
Separate, continuously variable low-pass and high-pass filter for each channel, each offering 6dB or 12dB/octave slope or bypassed state
Bass Shift and Presence Shift modules each offer three tilt-equalization sounds
Dynamic EQ module boosts or cuts only when needed to correct undesirable, momentary peaks or enhance your signal with creative boosts
Gain Scale control adjusts all gain controls for parametric, shelving, and Bass and Presence Shift filters at once; negative values invert the EQ curve to change boosts to cuts and vice versa
Mono Maker folds frequencies to mono below its selected corner frequency (20 Hz to 22 kHz), lending focus to any part of your mix and helping to preserve the side channel's headroom when tightening the low-end
Extremely flexible control linking: Each band and filter can be independently linked with its respective counterpart in the opposing channel (left-channel filter linked to its corresponding right-channel filter, or mid linked to side)

bx_stereomaker

Creating a Virtual S Channel!

The bx_stereomaker is a frequency-optimized M/S upmixing plugin that converts ANY mono signal to stereo, while keeping them 100% mono-compatible!

How many times have you had to deal with a signal that just won't fit in the mix because it's mono? But with modern mixes becoming both tighter and wider, adding reverb or modulation effects can easily destroy the tight center of a mono lead vocal, guitar, or synth track. Still, you need to process and spread those sounds to lay them perfectly into the mix.

bx_stereomaker can help

bx_stereomaker creates a virtual S signal with analog style filters using Brainworx legendary M/S stereo algorithms. This plugin will take any mono signal and make it stereo while allowing you to balance the center position. You can even focus the process on specific frequency ranges in your signal. And you can solo the virtual S signal!

Features

Adjust the stereo-width added to the mono source signal from 0% to 300%
Hi-Damp knob allows you to create a warm sounding stereo expansion without sounding tinny
The plugin creates a virtual S channel (which you can solo)
The results are spectacular, and your signal stays 100% mono-compatible!

bx_subsynth

bx_subsynth is the Holy Grail for Bass Fanatics!

Integrating a mix of classic and modern processing, this 10-ton beast gives music tracks, cinematic special FX and DJs’ sound systems a bottom end that goes all the way to the Earth’s core!

In developing bx_subsynth, Brainworx initially made a meticulous model of the legendary dbx 120XP Subharmonic Synthesizer’s Waveform Modeling™ engine, which generates discrete bass frequencies one octave below what you feed in to it. They then supersized the 120XP’s feature set to create much tighter, clearer, bigger and resonant bass.

For starters, bx_subsynth generates subharmonics in up to three discrete frequency bands versus the 120XP’s two—the addition of a higher bass band for re-synthesis lets you capture and nosedive the fundamental frequencies of a much wider variety of instruments, including snare drum and acoustic guitar.

The Tight Punch control creates crystal-clear, body-thumping bass by adding a resonant sub-bass peak and filtering out unwanted lows below its cutoff frequency. Powerful Edge processing lets you select from two modes of operation—Smooth and Harsh—that compress and saturate your tracks, alternately delivering super-compact or explosively trashy drums and throbbing, in-your-face bass guitar.

Let’s Be Clear
Bass EQ can’t do what bx_subsynth does. The discrete frequencies bx_subsynth generates leave more space across the bass-frequency band for other instruments, letting you jack up subsynth’s bass without muddying your mix. Plus, EQs can’t boost bass in a thin track that doesn’t have any bottom to begin with. bx_subsynth doesn’t just boost—it adds new bottom! And whereas psychoacoustic bass processors trick your brain into hearing phantom subharmonics that don’t actually exist—and which you can’t feel—bx_subsynth adds real sub-bass that will shake your body like an earthquake!

The applications are limitless. Retune your drum tracks: Dial in higher subharmonics for rack toms and lower ones for the floor tom for colossal, pounding drum fills. Boost different subharmonics on a kick drum and bass guitar to separate their sounds in the mix, for increased clarity and punch. Add subterranean thunder to sustained left-hand octaves on piano tracks. Automatically generate a perfectly synchronized bassline from the bottom strings played on an arpeggiated acoustic guitar track; two knob twists are all it takes to focus the bassline’s image dead-center and massively widen the guitar’s stereo image up to 400%.

Remastering engineers can use bx_subsynth to add a fat bottom end to thin vinyl masters and old recordings made on narrow-gauge multitrack tape recorders. Sound designers can pump up weak cinematic FX with terrifying lows. DJs can turbocharge their sound systems’ low end to woofer-shattering extremes. This is bottom end you can feel in your rattling bones.

bx_subsynth. Feel the bass.

Features

Models the dbx 120XP Subharmonic Synthesizer’s elemental sound, with dramatically expanded processing capabilities and controls
Generates thunderous lows to music tracks, cinematic FX and sound systems
Tight Punch provides resonant high-pass—with adjustable cutoff frequency—for accentuated punch while taming excessive low end
Low End control adjusts total bass output for perfect balance with mids and highs
Two types of Edge processing—Smooth and Harsh—can be shaped with Low Cut and High Cut filters and fine-tuned with individual controls
Mono Maker control sums bass band to mono below user-adjustable corner frequency for laser-like focus

System Requirements