Don’t miss out on Eventide’s new H3000 Band Delays plug-in for AAX, VST, and AU, on sale until December...
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Pitch-correction software has lots of uses besides putting vocals in tune! We uncover the creative roles to which today’s pitch processors can be employed.
This novel 500-series module has the potential to be any processor you want!
Multimedia’s T-Racks mastering suite is a modular program: basic core functionality is free, and users build up a collection of tasty processors by making in-app purchases from the company’s Custom Shop.
McDSP’s SA2 Dialog Processor is based on hardware originally conceived by Academy Award winning re-recording mixer Mike Minkler...
Gate, limiter, compressor, tremolo, volume pedal — is there nothing the Sonuus Voluum can’t do?
KMR Audio have announced the imminent availability of Bettermaker’s new C502V digitally-controlled 500...
Cobalt Saphira is the first of Waves’ new Cobalt series of plug-ins. It’s an enhancer effect, but one which goes way beyond conventional harmonic enhancers.
Although not as well-known as the classic Fairchild 660, the Telefunken U73b is in many ways its European counterpart.
This SSL-inspired compressor boasts excellent performance and some useful additional functions. What’s not to like?
This Polish company’s debut product, an inductor EQ, could be just the thing to apply a little professional polish to your recordings.
Presented as a three-knob pedal complete with footswitch, the 615 Smooth is designed to work with both instrument and studio outboard setups.
The first step towards treating room acoustics is identifying the problem areas — and that’s where FuzzMeasure can help.
This intriguing program aims to give your vocals the inhuman touch.
While high-quality clones of Bill Putnam’s 1176 compressor abound, stereo versions of that much-loved design are rather less common — especially at this price.
With so many different interpretations of the venerable PulTec EQP-1A now available, how does this one stand out from the crowd?
The Ottobit offers further proof that the 500-series needn’t be restricted to the niceties of analogue gear.
Thanks to the addition of powerful pitch-correction and manual time-warping features, Revoice Pro 3 offers a complete vocal-processing toolkit.
I’ve been using the Haas delay effect to add some nice width to my guitar parts. It sounds great, but I’ve noticed that when I listen in mono my guitars pretty much disappear from the mix. Any advice?
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