|
|
 4020 Retro EQ The 4020 Retro EQ is a four-band EQ with complimentary filter set. The HF and LF bands are shelving EQ, with two additional parametric EQs at the HMF and LMF bands. All EQ bands operate on a unique gain dependent variable slope/Q system for a vintage smooth sound and increased boost/cut frequency selectivity high gains. The HPF and LPF filters use a unique split-octave design giving a 12 dB / Oct slope near the selected frequency and a maximum slope of 24 dB / Oct. Retro EQ uses a McDSP designed output stage topology to eliminate digital clipping at any output level and produce a smoother distortion characteristic. Features: - Unique original algorithms with transparent yet vintage sound - EQ, filtering, compression, and limiter - Side chain support - Anti-Clip Output Stage Topology - Analog Saturation Modeling - Double precision processing - Ultra low latency - Mono and stereo versions more info
4030 Retro Comp The 4030 Retro Compressor is a new dynamic range control topology coupled with a wet/dry mix control to balance compressed and uncompressed signals. An active attack and release design allows aggressive compression settings with minimal artifact generation. Just like Retro EQ and Retro Limiter it uses an output stage topology that eliminates digital clipping at any output level and produces a smoother distortion characteristic. Features: - Unique original algorithms with transparent yet vintage sound - EQ, filtering, compression, and limiter - Side chain support - Anti-Clip Output Stage Topology - Analog Saturation Modeling - Double precision processing - Ultra low latency - Mono and stereo versions more info
4040 Retro Limiter The 4040 Retro Limiter is part of McDSP's Retro Pack bundle. Like Retro EQ and Retro Comp, it is styled and designed for the ultimate vintage audio vibe. It combines a look-ahead brick wall limiter function with several subjective treatments to make the limiting action subtle, and yet vintage. The special output stage topology eliminates digital clipping at any output level and produces a smoother distortion characteristic. This feature is in addition to the analog saturation modeling that has made McDSP famous over the last decade. Features: - Unique original algorithms with transparent yet vintage sound - EQ, filtering, compression, and limiter - Side chain support - Anti-Clip Output Stage Topology - Analog Saturation Modeling - Double precision processing - Ultra low latency - Mono and stereo versions more info
Channel G Surround Channel G Surround is a Compressor / Limiter optimized for 5.1 channels using 4 compressors sets – LR, C, LsRs, and LFE. These compressor sets can key from any combination of the LR, C, LsRs, and LFE channels. Individual compressor controls can be linked across various surround channels, and the LFE channel includes an optional low pass filter. Features: - Full featured surround Compressor / Limiter in LR, C, LsRs, and LFE channel sets - Optional LFE low pass filter 24 dB / Oct slope - Analog Saturation Modeling - Double precision processing - Ultra low latency - 5.1 version only more info
Channel G Compact Channel G Compact delivers the same sonic experience as Channel G with a smaller dsp footprint. It features calibration modes for music, post production, and models of the world’s most popular analog mixing desks. The Channel G Compact user interface seamlessly integrates with the Avid D-Control and D-Command control surfaces, as well as the Venue D-Show and Profile live sound consoles. Features: - High pass and low pass filters with selectable slopes of up 12 and 24 dB / Oct - Full featured Compressor / Limiter - Four-band shelving and parametric EQ - Compressor / Limiter operation pre or post EQ section - Analog Saturation Modeling - Double precision processing - Ultra low latency - Mono and stereo versions more info
FutzBox Typical post productions require distorted, or ‘futzed’ versions of dialog and other tracks. Simulations of radios, cell phones, and televisions called SIMs (Synthetic Impulse Models) provide accurate modeling in an extremely optimized format, allowing FutzBox to use less dsp power than conventional convolution based products. Furthermore, SIMs can be scaled in real-time and changed on the fly. In addition to the SIM library of sounds, FutzBox also includes filtering and EQ, distortion, a noise generator, and gating to complete the sonic destruction required. Original and distorted audio can be mixed in real-time to accommodate scene changes or other automation requirements. Features - Library of Synthetic Impulse Models (SIMs) - Configurable ‘futz’ effects including filtering, EQ, and distortion - Flexible noise generator with ducking capability - Hyper-sensitive gate for signal dropout effects - Double precision processing - Ultra Low Latency - Mono and stereo versions more info
DE555 De-esser The DE555 is a new generation of de-essing technology, providing transparent, precise de-essing with unique flexibility. The intelligent signal analysis allows to effectively de-ess at any signal level so no manual input threshold adjustment is required. Other options include continuously adjustable ratio and release controls to fine-tune the de-essing amount, plus a high frequency (HF) only mode for reducing the signal level of only the ‘sss’ and not the original dialog. Key filter options include high pass and band pass filtering. A focus control further enhances the key filter’s ability to separate ‘essing’ from actual dialog. The key filter output can also be monitored. Real-time displays of de-essing amounts and key filter response enable quick and easy setup. Features - Advanced de-essing technology - Unique key filter focus and de-essing controls - Real-time metering and key filter response plot - High frequency (HF) only option - Double precision processing - Low Latency - Mono and stereo versions more info
NF575 Noise Filter Accurate high pass and low pass filters reduce low frequency rumble and high frequency hiss. Selectable slopes of 6, 12, 18, 24, 30 and 36 dB/Oct and frequency control range covering the entire audible spectrum make the NF575 filters extremely flexible. Advanced notch filters allow the user to select the amount of signal cut, cut frequency, and width (Q). All five NF575 notch filters can be linked harmonically to address common cyclical noise problems such as 60 Hz hum. Features - High Pass Filtering (HPF) with slopes up to 36 dB/Oct - Low Pass Filtering (LPF) with slopes up to 36 dB/Oct - Five bands of notch filtering with linkable frequency - Analog Saturation Modeling - Double precision processing - Ultra Low Latency - Mono and stereo versions more info
ML4000 The ML1 mastering limiter uses a flexible brick wall look-ahead design coupled with multiple stages of limiting for superior peak detection. The unique Knee and Mode controls allow the ML1 to handle any kind of material with a variety of responses ranging from transparent to aggressive. The ML4 multi-band dynamics processor includes a 4-band Gate, Expander (upwards or downwards), and Compressor fed into the same limiter algorithm found in the ML1. Each band’s Gate, Expander, and Compressor can be configured separately or linked together. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent bands. Multiple real-time metering options in each band allow quick visualization of all signal dynamics. The ML4 crossover page shows the overall frequency response in real-time of the input, output, or total dynamics effect, on top of the graphically adjustable crossover frequencies. Accurate output adjustment is fast and simple with output ceiling control, large meters, and meter level text readouts. The ML4000 provides outstanding results with an intuitive user interface, flexible design, and powerful set of algorithms. Features: - Brick wall look-ahead limiter - Multi-stage peak detection and limiting - Unique limiter Knee and Mode controls - Multi-band Gate, Expander (up/down), Compressor - Simultaneous display of Gate, Expander, and Compressor dynamic curves in every band - Multiple real-time metering options - Adjustable crossover filters - Multi-band control linking - Analog Saturation Modeling - Double precision processing - Ultra low latency - Mono and stereo versions more info
Revolver Revolver is a high-powered convolution reverb that drives like no other, providing total impulse response sculpt-ability, dedicated and routable EQ, two syncable delay lines, and specialized stereo imaging for unprecedented control. The Revolver plug-in uses convolution to extract and replicate acoustic spaces and other equipment exactly. It combines this extraordinary processing power with the flexibility only found in ultra high end outboard reverbs. Revolver has two bands of dedicated shelving EQ and three additional bands of routable EQ. The EQ routing system has eighteen different insert combinations. Revolver’s two programmable delay lines have five different possible insert combinations. The delay lines are each 3 seconds long and can be panned and synced to MIDI beat clock independently for a variety of tempo-based effects. Additionally, all parameter adjustments are heard immediately, and the outputs are not muted during any control updates. The user does not need to wait while the reverb is ‘re-rendered’. In addition to the usual reverb length, wet and dry mix controls, EQ and delay, Revolver adds positive and negative predelay, controls for the articulation and overall attack of the sampled impulse, as well as other specialized stereo field controls. Separate from the delay lines, the split delay feature can be used to create an image shift of up to 50 msec, between the left and right channels. The split dampening and selectable diffusion controls can accentuate an image shift in the frequency domain. The optional three band crossover provides control over the specific tonal characteristics of the reverb tail over time, separating out the lows, mids and highs. This is applied directly to the impulse response essentially rendering on the fly and saving on system overhead. Revolver’s Level page allows adjustment of the wet, dry, original input, and final output levels. The level faders are calibrated like most large format mixing consoles for smooth and familiar response when auditioning and automating reverb levels. Convolution is known to be computationally expensive. Revolver is a highly optimized convolution engine, and to help maximize the power of your system Revolver provides selectable latency modes and Tail Cut controls to save your computer from having to process signals that are inaudible. When using a higher buffer size and the Low Latency mode output delay can be as low as 0 samples. When the user adjusts the playback buffer size of their DAW, Revolver will also check which latency mode has been selected and automatically choose the best one. more info
Channel G Introducing Channel G, a sophisticated console strip featuring an Expander/Gate, Compressor/Limiter, Equalizer, and Filters. Modes for music and post production are available alongside models of the worlds most popular analog mixing desks. Additionally, Channel G includes a powerful surround Compressor/Limiter configuration consisting of LR, C, LsRs, and LFE compressor sets. Each Compressor/Limiter can key from any of the ‘comp sets’ and may be linked in a variety of ways to suit any surround application. The G Dynamics section uses ultra-high resolution level-detection to give accurate handling of the most complex material. The Expander/Gate has adjustable range and threshold controls as well as a continuous ratio for the most detailed edits. The Compressor/Limiter also has a continuous ratio control and is complemented by a knee control offering choices to smooth the transition into the compression region as well as between the modeled console dynamics processors. Attack times can be as fast as 0.01 msec for instant compression action (i.e. one sample at sample rates under 100 kHz). The G Dynamics section also offers high and low pass filters with selectable slopes of 6, 12, 28, and 24 dB/Oct. In addition to being fully sweep-able across the entire audible spectrum, these filters have a notch mode with four notch variants. The G Equalizer section offers five bands of parametric EQ with switchable-shelving and gain ranges of +/- 18dB. The five bands of parametric/shelving EQ are complimented by two flexible filters identical to those found in the G Dynamics section. Like all Channel G configurations, the G Equalizer section control layout matches exactly to the center section of the Avid ICON control surface and supports sample rates as high as 200 kHz in Pull Up. A channel-strip style configuration called G Console combines the functionality of G Dynamics and G Equalizer into a single Plug-In. In this configuration, Channel G can faithfully reproduce both the response and control calibrations of the most sought after analog mixing desks. These models are easily accessed directly from the console selector in the G Equalizer section and the knee control in the G Dynamics section.  Surround Compressor's control matrix The Surround Compressor's control matrix allows the user to page select and set the key signal for each compressor individually, as well as set master and link options from a single source. The green circle lights along the bottom show which compressors are engaged. The little green "L" lights show that compressor as linked. The little yellow "M" light show that center channel compressor is the master. The illuminated Ls Rs button shows what page you are on, or in this case that the compressor controls are now operating the Left Surround Right Surround Compressor. The blue LR and C lights next to the key label let you know that the Left Surround Right Surround Compressor is now keying off the LR & Center channels. Each channel can key of any other channel in the matrix. Channel G Signal Path To help illustrate the seemingly endless signal path combination Channel G included and interactive signal path flow chart that updates in real time to setting and routing changes. This window helps underscore the extremely flexibility of Channel G's architecture. more info
Analog Channel Analog Channel's AC1 is a "class A" gain stage - the premium amplification design in the analog world for audio production. AC1 gives control over many parameters previously unavailable to the common user. This flexibility allows for a number of ways to improve a mix. Pure digital tracks can suffer from harsh digital clipping. AC1 acts as a 'digital pre-amp' allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio 'sits' in the saturation/compression region, and even the attack and release times of the distortion character are adjustable. And AC1 is the most efficient McDSP plug-In ever - up to 24 mono channels or 16 stereo channels on a single MIX dsp chip. Place it across the entire mix to create a custom analog console. The Analog Channel Emulator AC1 plug-In is an analog amplifier, or analog channel. Instead of allowing the user to drive signal levels into digital clipping at 0 dB, the AC1 plug-In provides gentle, continuous soft-limiting/compression (or saturation pending the attack/release times), at a signal level selected by the user. AC1 can be used as a fail-safe for preventing unwanted clipping, or as a creative tool to smooth/warm-up digital tracks and provide otherwise unavailable analog character to a digital system. Even the sound of large analog mixing consoles can be closely matched using the AC1 plug-In.  Standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization are provided. Control well beyond the limits of the 'reel-world' devices includes adjustable low frequency roll off and head bump - independent of playback speed. You can select from several playback head types, and even control the rate at which tape saturation is dis-engaged. And instead of frequency sweeps and test tones, the playback head and tape saturation responses are displayed in realtime - updated with every control change. more info
CompressorBank CompressorBank gives the user complete control of dynamic compression. Common controls such as Output (make-up gain), Threshold, Compression (Ratio), Attack, and Release are provided. Non-standard Knee and Bite controls allow unique and unprecedented articulation of compression characteristics. Multiple peak detection circuit types provide flexibility only previously achieved by owning different compression units. Side chain support, side chain or in-line pre-filtering, and a static/dynamic EQ section (post compression) round out the signal processing capabilities of an already very capable compressor. In addition to the standard Threshold and Compression (Ratio) controls, the actual shape and response of the compression curve can be adjusted with the Knee and Bite controls. Knee softens the compression curve, creating a smoother response. Bite gives the compressor the ability to allow signal transients to pass uncompressed, while the overall compression response is unchanged. These controls allow the user to emulate repsonses of their favorite vintage gear. Using the same technology as our popular FilterBank Plug-In (including analog satuartion modeling), this static/dynamic parametric EQ section can be applied to the compressor output, making possible effects such as signal enhancement, noise reduction, and harmonic distortion.  Using the same technology as our popular FilterBank Plug-In (including analog satuartion modeling), this static/dynamic parametric EQ section can be applied to the compressor output, making possible effects such as signal enhancement, noise reduction, and harmonic distortion. more info
FilterBank FilterBank is not just another great sounding EQ - it's every EQ ever made in one plug-In. FilterBank achieves this lofty claim through its unique design philosophy: give the user maximum control. All critical equalizer and filter design parameters are totally user adjustable. FilterBank can emulate any EQ: tube driven or solid-state, vintage or modern, fat or thin. Or FilterBank can be used to create a distinct custom EQ. FilterBank gives you the most power and flexibility to emulate any other EQ or create your own custom EQ. We give the maximum independent controls available to the user to define the EQ response curve. Only FilterBank gives you independent control of Frequency, Gain, Peak, Slope, and Dip. No other EQ gives you so many controls and allows as much flexibility (largest range) of these controls. Peak, Slope, and Dip are 3 of the critical design parameters that define the response curves of shelving EQs. By adjusting these values, you can emulate the response curve of any shelving EQ ever made. The FilterBank presets are inspired by EQs such as the Neve 1084, Avalon 2055, GML 8200, Manley and Pultec. This one engineering tool can easily replace thousands of dollars of expensive and hard to find hardware. more info
MC2000 The MC2000 is a high-end, multi-band compressor Plug-In designed to emulate any other compressor or create custom compressors, in two, three, and four band configurations. Imagine a three-band stereo compressor with a dbx165 on the low-band, the Neve 33609C on the mid-band, and a Teletronix LA2A on the high-band. These kinds of configurations, nearly impossible previously, are only presets away in the MC2000 plug-In. The addition of simultaneous metering of band inputs/outputs, compression gains, and final output, crossover and compression curve displays, automation of every control, and the ability to recall it instantly with a single preset make the MC2000 the multi-band compressor for the next millennium. The MC2000 plug-In uses the compression algorithms from the CompressorBank plug-In. Thus the MC2000 plug-In can model a wide variety of vintage and contemporary compressor implementations – IN MULTI-BAND CONFIGURATIONS. Imagine a dbx 165 on the lows, a Neve 33609C on the mids, and a LA2A on the highs! Such configurations would not have been attainable otherwise. Our presets emulate the responses of analog gear, as measured by the engineering staff at McDSP. Although the names of other compressor manufacturers are mentioned here, they are in no way affiliated with McDSP. The MC2000 plug-In presets are inspired by compressors such as the Urei 1176 LN, Teletronix LA2A, dbx 165, Neve 33609C, Avalon Designs 2044, Empirical Labs EL8 Distressor, and Altec Lansing 9473A. The presets can be accessed from the ProTools “Plug-In Librarian” and “Plug-In Settings” pop-up menus. The crossover sections in the MC2000 are steep 24 dB/oct filters, minimizing cross-talk between the compression bands. These filters are taken directly from FilterBank, the most highly regarded digital equalizer on the ProTools platform. more info
Chrome Tone The Chrome Tone collection of effects includes distortion, compression, gating, chorus, flange, EQ, wah, tremolo, spring reverb and tape delay effect. These are all designed with sonic flexibility for a myriad of applications from guitar, keyboards, drums and even voice. Chrome Tone brings the world of custom guitar amps, boutique outboard gear and pedal effects inside your Digital Audio Workstation (DAW). The Chrome Tone Amp has six distortion modes for everything from light grit to full shred. Distortion Drive, Type, and Frequency controls allow fine tuning of the distortion tone. The Amp also includes a full featured noise gate, compression and sustain circuits, low cut filters, shelving and parametric EQ, a guitar cabinet simulator (great for direct recording), and a reverb. - Six distortion modes for light to heavy distortion. Distortion Drive types include various gain staging (Narrow, Wide, and Low), as well as many filter types for manual wah and other special effects. - Fully programmable Gate to remove unwanted signal. Very useful for noise reduction in the signal path, particularly when large amounts of distortion are selected. New in version 1.3, the input section now boasts a full featured pre with more low end and several selectable Pre responses. - Compression and sustain circuits to augment the recorded performance. This section can also increase the overall signal level in the Distortion section. - High pass filtering, shelving and parametric EQ. - Several new cabinet models and direct modes are now available in version 1.3. - Spring reverb. more info
Synthesizer One Synthesizer One is a high-end soft-synth designed to maximize sonic creation and manipulation. Many sound sculpting techniques are included - wavetable, FM, AM, Ring modulation, additive, and subtractive synthesis. Synthesizer One combines many sound creation techniques into a single software plug-In including wavetable, FM, AM, Ring modulation, additive and subtractive synthesis methods. External audio can be processed and combined with synthesized sounds. Oscillator, filter, LFO, and envelope signals can be routed to multiple modulation targets. Two wavetable oscillators (three waves per voice) allow unprecedented manipulation of waveform data. A third analog-style oscillator has been added in version 2.0. Two multi-mode filters simultaneously output high pass,low pass,band pass,and band stop filtered signals. Three LFOs per voicewith dedicated multi-mode ASR envelopes.The LFOs can use the same waves as the OSCs for the ultimate modulations. The LFOs can be synced to MIDI beat clock or the internal clock of Synthesizer One. Multiple LFO loop modes are available, as well as key tracking. Three ADSTAR envelopes can be used as s source for any modulation target. The second attack (post key up)can be enabled or disabled. Effects include wave shaping, EQ (high pass, low shelf, high shelf), and a modulatable delay line capable of chours, flange, vibrato, pitch warping, doubling, and echo effects. The Synthesizer One interface - Synth Page 'OSC' is shown above. more info |
