Stillwell Audio Plugins Bundle VST v1.03   by Arcade

▄▄▄█▀▀▀ ▀▀▀▀▀█▄▄▄ ▄▄▓▀▀▀ ▄▄▄▓▓▓ █▀█▄▄▄ ▀▀▀▄▄ ▀ ▄▄▄█████████▌▐ ▄████▓▓▄▄ ▀ ▄▄▀▀ ▀█▀ ▀█████████ ████████▓▓▓▀ ▀▀▀▓▄▄ ▀ ▄▄▄███▌▐█▄██████████▌▐█████████▌▐▀██▄▄▄ ▀ ▀ ▄▓▀ ▀█▀ ▀███ ██████▀▀█████ ▀██████ ███████▀ ■ ▄▓▄ ▄▄▄▓▓▌▐▓▄████▌▐████ ████▌ ▄█████▌▐▀█████▌▐▀█▄▄▄ ■ ▀▄▄ ▀ ▀▓▀ ▀██ ▓▓█████ █████▄▄██████ ███████ ▄ ▄██▓█ █ ▄███▀ ▄▄▀ ▀▀▓▄▄▄ ▀▀ ███▌▐▓▓██▀ ▌▐▓████▀▀▀▀▀▓▓▌▐▓▓███▌ ▀▀▓▓▓▓▌▐▀▀▀▀ ▄▄▓▀▀ ▄▄ ▀▀▓▓█▄▄▄ ▄ ▓▓▓██▄█ ▓▓▓█▌▐█▀▓ ▓▓▓ ▓▓▓▓ ▄██▌▐▓▓ ▄▄▄█▓▓▀▀ .CHz. █▌ ▐▄▄▄ █▓ ██▄▐▓▓▓██▌▐▓▀ ▄█▄ ▄ ▄▄▄▄▄ ▓ ████▄ ▓█ ▄▄▄▓▓█▌ ▐█ ▓██▌ ▐█▌▐▀█▓▄ ▀████ ▄███▓█▓ ▐████ ▄ ▓█▓███▄ ▐█▌ ▐█████▓ █▌ █ ▓▓ ▓ ▀█▓▓▄ █▀ ▄███▀ ▓▓▓ ▓█ ██ █▄▓▓▓ ▀███ ▓▓ ████▌ ▐█ ▓██▌ ▐▓▌▐█ ▐█▓▓▌ ▄▀██▀ ▐▓█ ██▌ ▄ ▀█▌▐▓▌ ▐██▌ █ █▌ ▐███ ▓█ ██ ▄█▓▓▀ █▌▐█▌ ▄▄▄ ▓█▌ ▐██ ▄▄▄ ▐█ █▓ ▀▀▀ ▐▌ ▀▀██▓▓█▌ ▐█▌▐███▓▓▄▄▄ ▀▀▀██▄ ▓▓█▓▓█▄▄▄███ ▓▓▓ ▄██▌▐█▌ ▄▄▓▓███ ▀▀▀▓▄▄ ▀██ ▀▀▀███▄▄ ▀▀▄▄██▓▓█▀ ▄ ▀███▓██▄▄██▀▀ ▄▄▓▀▀▀ ▀ ▀▀██▄▄▄ ▀ ▄▄▄█▓▓▄ ▀▀▀▀▀ ▀ ░ ░░ ░▒▓█████████ ▄█▄ ░▒▓████▄▄ ▀▀▀███▀▀▀ ▄▄▄███▓▒░ ▄█▄ █████████▓▒░ ░░ ░ ▀ ▀ Stillwell.Audio.Plugins.Bundle.VST.v1.03 ░ ░▒▓█████████ ▄█▄ ░▒▓███████████████████████▓▒░ ▄█▄ █████████▓▒░ ░ ▀ ▀ Date.: 10/2007 Type.: VST OpSys: XP Disks: 2 * 4.77mb 1973 The Neve* 1073 is probably one of the best large-format console channel modules ever made. Punchy, detailed…it was almost impossible to make it sound bad…for its time. Let’s not debate about large chunks of iron and wax/paper versus electrolytic caps…let’s talk about the sheer genius involved in picking the proper EQ frequencies, bandwidths, and slopes. THIS is where 1973 is coming from…not an emulation, but a tribute. Taking the best features and reducing them down to their essence…then making it utterly transparent and smooth. Dial in some high end. No, more than that…c’mon, more. What? Are you afraid of that knob or something…GIVE IT A TWIST, I SAID! Magic. THAT’s what separates the men from the boys in EQs like this…the ability to drop in staggering amounts of smooth, detailed HF boost without shredding eardrums. Bad Buss Mojo How to describe this? Well, I guess we’ll just settle for this: sometimes digital is just TOO perfect. I’m not going to say “sterile” or “lacking soul”, because I’d wind up eating my words sooner or later…but sometimes you just want a little grit…a little dirt…a little imperfection. That’s where Bad Buss Mojo comes in. Bad Buss Mojo allows you to dial in specific tweaks to a virtual mix buss amplifier. Is the + rail a little low? Dial it in…PSU not quite as stiff as it could be? Dial in a bit of knee in the bend. Old-school transistors or even <gasp> tubes? Dial in some nonlinear modulation. It’ll go from “I can’t hear that you’ve done anything, but I like it” all the way up to “Why did you run my mix through a guitar amp?” Highly recommended (the plugin, not running your mix through a guitar amp…) Event Horizon Plus Event Horizon is a “Peak-Eating Limiter”…huh? Well, maybe a better description is that it’s a clipper with an optional soft-clip circuit. By truncating waveforms short of where the DAC would go into clipping, you can get VERY transparent loudness increases; unlike most limiters, Event Horizon does this with ZERO pumping, ZERO transient or frequency artifacts, and with ZERO latency. Now, it may not let you be louder than the latest “flavor of the month” “mastering” limiter, but within its range of operation, you WILL get an unsurpassed natural sound. Its output is what comes into it…only louder. If you push it too hard, it will tell you in no uncertain terms that this is no longer the right tool for the job. Give it a try…it’s fantastically easy to use, and it sounds great! Major Tom Major Tom is not your ordinary compressor, no sir! It was designed with very specific goals in mind, and blew completely past them. We like Major Tom…can you tell? Major Tom is intended to be easy to use: there are no attack and release controls…the values vary depending on the level of the signal relative to its threshold. These values are very finely tuned to make it as musical as possible, without requiring a wall full of gold records to hit the right settings. The attack/release settings are inspired by one of the true “stealth” vintage compressors, the dbx* 160. You may not hear about it much, but you’ve heard it on records time and time again. Musicality: That’s the second key. Major Tom WILL pump, but it should do so in a musical, rhythmic manner. Put it on vocals gently for smoothing…nice. Put it on bass, but don’t go overboard…buttah. Put it on drums and go berserk…SMACKIN’. If you pull lots of gain reduction, it’s going to turn into a savage, funky, living, breathing, pumping instrument of destruction, but use it gently and it will be nice and transparent, adding a subtle gloss to your tracks. Those looking for utterly transparent gain reduction need not apply. Transient Monster This is simplicity itself. It will save your drum mixes. Two controls: Attack, and Sustain. I would explain more, but you know…I really don’t have to. Put it on your drum buss. Turn the knobs…you WILL understand, and you will thank me later. Okay, okay…have you ever had a drum performance that was REALLY laying down the groove, but the recorded drum sound just didn’t SNAP? Turn up the attack. Need those ride cymbals to really ring instead of just dying down into the mush? Turn up the sustain. Too much bleed and ring getting into your drum tracks? Turn DOWN the sustain. See? I knew I didn’t really have to explain it to you. Verbiage Before convolution reverbs, there were Lexicon, Yamaha, Eventide…hmm. Seems like all the REALLY good reverbs were around way before everybody got the convolution bug. This isn’t a convolution reverb…it’s an algorithmic reverb put together the old-fashioned way…from your basic ones and zeroes. It’s extremely controllable (try changing the room size and damping of your average reverb impulse…doesn’t work, does it?), and very flexible. Separate control over early and late reflections, stereo or mono in (input mix), stereo or mono out (width), flip wet output channels for cross reverb (very cool for panning mono instruments and letting them fill a space without getting overly wet), high-pass filters, gating…it’s all there. This is NOT the reverb you would use to emulate a physical space (that’s what convolution reverbs excel at), but this is a true gem for sweetening tracks with reverb…adding that special shimmer to tracks that you can’t really get any other way. Psychodither God’s Own Dither. A breakthrough adaptive algorithm reacts in real-time to the signal audio to preserve the maximum possible dynamic range at any bit depth. Select a dither color and dial in psychoacoustic noise shaping power to choose exactly the right hardness or softness for your final renders. Schope One Scope To Rule Them All. A multitool, multiview, multichannel waveform, frequency, signal and channel phase analyzer lets you superimpose and view multiple audio signals from every dimension. Scope pre- and post-compression signals together to see if you’re flattening peaks. Scope kick drum and bass together for EQ scooping. Scope DI and amped guitar signals together to fix phase problems. Pan, zoom, scrub, save, load, goniomete, and zambulize. Spectro An intuitive, real-time spectral editor. Draw boxes to add or subtract gain, mute, or solo specific frequency ranges. Clean up accidental room noise, remove harmonic bleed, perform surgical EQ, write your own multiband compressor, de-ess, or get creative and combine additive filters for some truly wild effects. It can be anything from a scalpel to a bludgeon. All in real time, with amazingly low CPU use. Try it! http://www.stillwellaudio.com ░ ░░ ░▒▓█████████ ▄█▄ ░▒▓███████████████████████▓▒░ ▄█▄ ████████▓▒░ ░░ ░ ▀ ▀ 1. Unzip, unrar 2. copy plugin(s) to your vst directory 3. Enjoy ░ ░▒▓█████████ ▄█▄ ░▒▓███████████████████████▓▒░ ▄█▄ █████████▓▒░ ░ ▀ ▀