Category Archives for "Reviews"

Exponential Audio – NIMBUS & R4 Reverb Plugins Review with Lij Shaw

Exponential Audio - NIMBUS & R4 Reverb Plugins Review with Lij Shaw

Exponential Audio makes some of the best reverb plugins that you can find for any DAW. These are definitely the best and most flexible digital reverbs I have heard.

The designer, Michael Carnes, brings 30 years of digital reverb design and knowledge to create a complete line of plugins. These reverbs are useful whether you are mixing on a laptop or in multi channel surround for a feature film. They are very realistic and musical reverbs, and the closest thing to my real plate reverb in a DAW.

In this video I take you on a quick tour of the NIMBUS and R4 reverb plugins.

These reverbs are expansive and flexible. You can easily get a killer room sound for your drums or a full rich plate, chamber, or hall for your vocals. The music in this video is the song "The Girl Sleeps As If..." from my band Three Fried Men for Poetry Scores productions. http://poetryscores.blogspot.com/

Cheers!Lij

Go check it out at: https://www.exponentialaudio.com/

From the Exponential Audio website:

Exponential Audio makes world-class plugins for demanding audio professionals. Our plugins are used by some of the biggest names in audio production and can be heard on award winning music, TV and movies. Our stereo and surround reverbs and effects plugins are some of the best around. We support all major DAWs including Pro Tools, Logic Pro and Studio One--in fact anything that uses AAX, AU, VST or VST3. Visit the product pages to learn more about the products Exponential Audio makes for you. Then download plug-in demos and try them for yourself.

NIMBUS: the powerful new reverb unit from Exponential Audio.

While many companies were making convolution reverbs with photorealistic graphics requiring loads of DSP, Exponential’s Michael Carnes was swimming in the other direction with his designs.

That disruptive approach has paid off, with Exponential Audio now regarded as one of the leading effects companies for professionals in music, post-production and games design. Our plug-ins are used on Grammy-winning albums, and top movies that take you to galaxies far-far away or deep into Middle Earth.

Meet NIMBUS, a new and improved reverb unit based on the familiar PhoenixVerb but offering better sound, greater flexibility and new capabilities:

Better sounding: NIMBUS is based on the core of the hugely popular PhoenixVerb, but we’ve combined honest user feedback with a fertile creative imagination to make it sound even better.

No CPU hog: NIMBUS is a native plug-in, requiring no special hardware and offering even more flexibility while continuing to work with its now-famous minimal load on your computer.

Easy to use: We know that workflow matters to our users. While NIMBUS is brand new, existing users will find it reassuringly familiar, and new users will find their way around in a matter of minutes.

Plugging all the gaps

There were always elements - like overdrive - that NIMBUS creator Michael Carnes felt would be helpful in 'warming up' a reverb. He also saw a need to dynamically lower reverb levels in louder parts of a mix: with dynamic tail suppression NIMBUS now has this covered.

Users have long asked for tempo-controllable pre-delay: NIMBUS now has this implemented.

Over 1200 presets and handy new tool-tips: NIMBUS has everything under control to get you started.

Meet R4: reverb royalty from Exponential Audio.

Every generation of engineers and producers has iconic pieces of studio equipment; they act like markers along the path of recording history. Many top engineers will talk about reverbs in the same way, they will speak of the first time they heard some of the classic hardware reverb units which have created a dynasty over the past few decades. Some of these units have Michael Carnes' fingerprints on them, and his new creation R4 is the next reverb in this royal lineage. R4 offers all the class of historic hardware reverb units but with many new features only possible with modern plug-in development technology. R4 is pure class and for this reason, is destined to become a classic.

No CPU hog: R4 is a native plug-in, requiring no special hardware and offering even more flexibility while continuing to work with its now-famous minimal load on your computer.

Easy to use: We know that workflow matters to our users. While R4 is brand new, existing users will find it reassuringly familiar, and new users will find their way around in a matter of minutes.

Plugging all the gaps

There were always elements - like overdrive - that NIMBUS creator Michael Carnes felt would be helpful in 'warming up' a reverb. He also saw a need to dynamically lower reverb levels in louder parts of a mix: with dynamic tail suppression R4 and NIMBUS now have this covered.

Users have long asked for tempo-controllable pre-delay: R4 now has this implemented.

Over 1200 presets and handy new tool-tips: R4 has everything under control to get you started.


What’s new?

R4 features at a glance:

  • A character reverb that outdoes all the classics
  • A new hall algorithm, as well as updated versions of the R2 algorithms
  • Warp section with compressor/expander and overdrive
  • Modulated EQ
  • Pre-delay and reverb delay now adjustable by tempo
  • Tail suppression circuit for more dynamic response
  • Gated reverb effects
  • Over 1200 presets
  • Helpful tool-tips to guide new users.

Get Your Mix Right The First Time With MixChecker From Audified

GET YOUR MIX RIGHT THE FIRST TIME WITH MIXCHECKER FROM AUDIFIED

MixChecker comes from Audified.com. You can use it to gain more insight into your mix and make better judgements about things like bass and vocal level. In this video I show you some of the basics for how to do that.

Go check it out at: https://shop.audified.com/collections/products/products/mixchecker

Cheers!Lij

From the Audified.com website:

This ultimate mixing assistant will help you to get better mixes instantly. MixChecker (VST/AAX/AU plug-in) saves your precious time. Plug it in the master track of your project as the last segment of your listening chain and quickly turn your studio monitors into classic reference monitors or several consumer devices.

MixChecker is iLok protected. The hardware key is not necessary, only the License Manager. Please refer to our guide to see how to activate the trial and full versions.

You Mix For The People

Have you ever wondered why your music, your videos, showreels and movies do not sound well when you move out of your studio? Why do they lose punch and clarity that your awesome studio monitors deliver? That is because you do not use the same equipment the real people use. To bring the best quality to your audience, you need to check your mixes as often as possible. That is why we made MixChecker. Because we know You mix for the People.

Do You Hear What They Hear?

The consumers, the people you are mixing your content for, do not use hi-end studio monitors. They watch TV, listen to music in their cars. They even use their desktop speakers, tablets and smartphones or their earphones. You need your mix to sound great despite of what lousy conditions your audience uses.

Version 1.1 just released - See what's new:

No more extra exports

In past, to ensure your mix sounds right on any device, you had to export your sound and listen in different conditions. Import your mix to your smartphone, burn on CD and listen in your car, get back to your studio, do little tweaks and export again...

Now you can use the MixChecker to perform quick round test that will only take a few seconds. And get back to mixing and corrections while you still know what the problem in your mix was.

What it does

MixChecker functions are divided into two sections. The Simulation offers acoustic models of several consumer devices and classic reference monitors. Pressing a single button will turn your monitors into the selected device.

Not all studio monitors deliver flat frequency response. Therefore we also added the Compensation section. It will allow you to tell MixChecker, you are using average 5" or 8" speakers or headphones. That will change the resulting sound accordingly.

The Bypass button turns all processing off. When illuminated, only clean signal comes through MixChecker.

How we do it

We measured the frequency responses and behaviour of all the devices listed in MixChecker in laboratory conditions to create their true and faithful models that you can rely on. Read more here.

MixChecker: Behind the scenes

Posted by Audified Crew on

The more people get familiar with our MixChecker, the more questions from the musicians and producers we get. And that is awesome. We are glad you are curious. Those questions deserve answers. We gathered members of our team and let each of them be answered by the most qualified person...

Where does the idea for MixChecker come from?

Jakub (Marketing Director): Our team developed the technology for MixChecker quite a long time ago to be used for some of our other products as well as it served for the purposes of of the Academy of Performing Arts.
The idea for MixChecker itself comes from the needs some of us experienced in our previous jobs. I – for example – used to work in TV Promotion business. We always suffered from the fact, that our TV trailers always sounded great in the studio but listening from a TV set was a nightmare. So we used a TV set as a reference monitor in that time. And it was a hassle. We wished to find a quicker way to get to better sound.


Later we discussed the topic within the Audified team and thought there are more people with such need. They mix not only for TV, but for radio stations, computer games, mobile OS games etc. And the idea was here. Let's make something, that would make their life easier. Just test and go. No setting up, no exporting, no wiring. And the MixChecker was here.

Is MixChecker accurate?

Lubor (CEO): Mixchecker does not simulate each device on consumer market exactly – it would not be even possible. The goal of this tool is not to create a real model of particular device as such. It shouldn't be used as an effect. MixChecker should be considered a guide that shows you the weaknesses of your mix regarding to various types of devices. For example: if you are mixing an advertisement that will mostly be viewed on smartphones – you cannot determine what particular type of phone will be the most used one. But all smartphones have some sound parameters in common – so MixChecker can give you some realistic picture.

You may have noticed our guitar speaker simulator (MultiCabinet – the technology is also used in ampLion Pro and GK Amplification 2), in which you may change the position of the listening point (or miking) using three parameters, but this is exactly what we wanted to avoid when creating MixChecker. We wanted to create just one typical characteristics of each device combining the measurements, and it was not easy.

Is it professional?

Lubor: Absolutely. We have used the best possible conditions for measurements – a professional system which costs thousand times more than the best audio interfaces. Also the results were processed in a complicated way: We have even written an application, computing the characteristics from all the measured results.
So even if MixChecker base is a convolution engine, there is a lot of other work in the final product. The above mentioned MultiCabinet is a plug-in doing only convolution. There is much more behind MixChecker.
Vlada (Lead Programmer for MixChecker): In addition to what Lubor says, we used professional software with DSP toolboxes. Each device was measured in echo-free chamber from several distances with different microphone positions. We made well over 300 measurments instances to create MixChecker models. Then we discussed the measurements with audio professionals and even with professional musicians at the academy, so we have great feedback, which measurements are useful.

I never had such terrible sound from my earbuds, say a lot of users...

Jakub: The users of MixChecker are more than likely people who choose their headphones very carefully. The sound of the earbuds in MixChecker is really weak – but it has a reason. We did not include any kind of hi-end audiophile earbuds – because then you wouldn't get the realistic picture on what the average people would hear (using mostly the earbuds that are distributed with their smartphones etc.).
Vlada: We used a special artificial masuring head to capture the image of the headphones. We believe there is no better way to do it in present days. Also, have you ever thought about the fact how much the sound of your headphones depends on the position and the way you wear them? Well we have. So the models of the headphones and earbuds are the result of the mean of several measurements in different positions and different models. The biggest influence can be noticed on low frequencies – as you may see in the picture. This picture illustrates the measurements of on-ear headphones, five measurements are averaged in this case. After that, the measurement system characteristics is compensated so we get the final result without the influence of the system, including the “ear characteristics” for extra-aural headphones.

Is MixChecker for me?

Jakub: Everybody should be aware of the problem and everybody should check their mixes somehow. MixChecker can be substituted in several ways. You may exportyour mixes and do round checks on several devices, write down your thoughts and feelings and than make corrections in your mixes and do the same round again. But this may cost a lot of time and time (in professional studio) means a lot of money. In some conditions (broadcast...), you even do not have the chance to do so. So the answer depends on how much you value your time. MixChecker can save a few hours on a project. That can make few days a month or weeks a year. And that is a hell lot of time.

Is MixChecker going to gain any new features in future?

Lubor: MixChecker is a living product, there will be evolution, but we would like to keep it as simple as it is now. Yes, we have gathered some thoughts for the first update already. And we are open to any more suggestions. Even if they don't concern the MixChecker – we will be happy if you write us.

How to fatten up your loops with the Audified U78 and U73b

How to fatten up your loops with the Audified U78 and U73b

Here are a couple of great plugins to really fatten up your loops. The Audified U78 and U73b are both modeled after the vintage Telefunken U73b vari mu compressor/limiter.

One of the cool features of these plugins is the ability to switch them into "oversample" mode which bring out a higher fidelity in the sound. I show you how to work around your limited processing power by using the freeze feature in Pro Tools.

From the Audified.com website:

U73b: The device was often used for mastering between 1960 and 1980. It is an all tube vary-mu compressor/limiter with adjustable release time option. We kept the circuit exactly as it was originally designed and only added input and output gain (before and right after compressor circuit) to help with proper adjustment of the compression. The plugin effect has been also supplemented with a VU meter and selectable side-chaining. U73b is great for mastering, mixing drums, bass, guitar, vocals and voice overs.

U78: To start with, we removed our award-winning U73b Compressor plug-in's compression function. Filters were added, together with the tone control, and, finally, a strong gain control completed the U78 Saturator. We kept the heart and soul of the machine to deliver the beautifully musical tube sound. The result is a saturator that sounds like no other. The U78 Saturator is even better than the real thing, being blessed with the things that dreams are musically made of.

Audified U73b Compressor

New in version 2

  • External side-chain added
  • Auto Output parameter added
  • Plugins built in newer IDEs with more effective code.
  • Color settings dialog added
  • Default calibration parameter value mechanism added, calibration parameter range changed.
  • English language added
  • Oversampling added
  • GUI improved, retina support
  • Software can be used on 2 computers per ID simultaneously. (User gets 2 licenses)

Controls

The compressor's controls are very easy, but the effect of this unique device is audible at the same moment you turn it on:



Compressor/Limiter switch
– is the upper U73b knob and it switches between Compressor mode (Kompr), Bypass (Durchschalt) and Limiter mode (Begr). The compressor mode has lower threshold setting and very gentle increasing ratio, in opposite, the limiter mode provides higher threshold setting with higher ratio but still with smooth knee.

Release time – the first three positions offer fixed release time, the other three positions (marked red) provide adjustable program content dependent release time option.

IN – adjust input gain before the compressor/limiter circuit

OUT – adjust output gain after the compressor/limiter circuit.

Key input – selects the signal source used for controlling the gain reduction

HPF – U73b is a vintage device and as such it may not meet present mastering demands. We added a bass management button that simply switches between original sound and desired modern sound (without low frequencies bypass).

Audified U78 Saturator

Valve saturating plug-in based on the circuitry of the famous U73b Compressor

Almost anything is possible in the digital world. With the right skills and technology you can create absolutely anything you like... like the U78 Saturator. So we took the circuitry of the legendary U73b compressor and played around a bit to come up with some seriously satisfying saturation!

More than modeling

To start with, we removed our award-winning U73b Compressor plug-in's compression function. Filters were added, together with the tone control, and, finally, a strong gain control completed the U78 Saturator. We kept the heart and soul of the machine to deliver the beautifully musical tube sound. The result is a saturator that sounds like no other. The U78 Saturator is even better than the real thing, being blessed with the things that dreams are musically made of.

U78 Saturator is iLok protected. The hardware key is not necessary, only the License Manager. Please refer to our guide to see how to activate the trial and full versions.

U78 Saturator Controls

Gain - adjusts the input gain of the saturation circuit. (The higher the settings, the more rich the sound that can be achieved.)
HiPass - sets the cutoff frequency of the high-pass filter, which comes before the saturation circuit in the signal path. (The range is from 30 Hz to 800 Hz - turn the knob to minimum to turn off the HiPass filter.)
LowPass - sets the cutoff frequency of the lowpass filter, which comes before the saturation circuit in the signal path. (The range is from 1 kHz to 8 kHz - turn the knob to maximum to turn off the LowPass filter.)
Tone - controls the U78 Saturator's unique tone filter. (Lower settings produce darker sounds with more low frequency content; conversely, higher settings result in brighter, sparkly sounds.)
Mix - controls the dry and wet signal ratio. (The dry signal is delayed to match the wet signal path latency to prevent phasing issues.)

The presets

The plug-in is mainly intended to be used on bass, drums
and vocals, but creativity knows no boundaries. The presets for the device are prepared by experienced producers such as Baby Brown (represented in the preset list with BB initials) or Boris Carloff (BC).

How To Add Excitement To Your Drum Mix [Lindell 354E Multiband Compressor]

How To Add Excitement To Your Drum Mix With The Lindell 354E Multiband Compressor From Plugin Alliance

I have been a fan of Plugin Alliance for years, and have gotten many of their great plugins. So when a new one comes out I am always curious. Recently Plugin Alliance released the Lindell 354E Multiband Compressor. Well of course I checked it out and wanted to share with you what I discovered!

I figured a great way to do that would be to shoot a live video (pardon the imperfections) about using it to excite your drums in your mix.​

"The Lindell 354E sounds great! I give it the @RSRockstars thumbs up stamp of approval." Lij Shaw @PluginAlliance @LindellAudio

Click to Tweet
Lindell354-E

From the Plugin Alliance Website:

OVERVIEW

The Lindell 354E is a multiband model of the most famous vintage diode bridge compressor, the Neve 2254E, precisely replicating its distinctive behavior and rich sonic character in each of its three bands. But in practical use, the 354E really is two compressors in one: Turn on its Nuke mode to radically shape individual tracks, and turn it off for lighter, more nuanced compression when mastering or for surgical mixing. Both modes yield the same lush coloration and smooth presence that made the 2254E one of the most revered and highly sought after compressors in the world.

The 354E is one of the very best plugins you can use to compress drums, electric guitars, and rock vocals. Unlike its single-banded cousin, the 254E, three independent compression bands (Low, Mid and High), powerful Nuke mode, and Niveau and highpass sidechain filters let you dramatically reshape tracks for maximum size, punch and bottom-end weight. And with an adjustable attack time as fast as 2µsec (two millionths of a second), the 354E is one of the fastest compressors available, capable of shaping sounds in extreme ways most other compressors can only dream of.

Fatten Up Individual Tracks

The 354E’s Nuke mode is the poster child for rock ‘n’ roll excess. It’s like throwing TNT on drum room mics. Use Nuke mode to explode the room ambience and make the drums pump like a jackhammer. Use the built-in filters to shield bass frequencies from compression, inflating the kick drum in the room mics to monster size. Then adjust the three bands’ ratio and gain controls to balance the level of hi hat and cymbals with that of the trap drums for the perfect blend.

The 354’s Niveau filter and Nuke mode are also your tickets to making thin-sounding floor and rack toms thunder with deep, long sustain and rock vocals hyperventilate with urgency. The 354E will also quickly become your go-to guitar-track shaper: on electric guitar vamps, the multiband controls and filters let you compress the bottom and top strings’ output to different degrees to boost chunky, palm-muted bass notes or blazing, high chords to the front of the mix. Compress heavily to add intensely colorful character, and then use the Mix control to dial some pristine dry signal back into the 354E’s output for the perfect blend of mayhem and detail.

Mix and Master with Kid Gloves

When you turn off Nuke mode, the 354E takes on the highly nuanced behavior needed for master-bus compression and mastering. Use the 354E’s mild 1.5:1 ratio to add solidifying glue to mixes. Kick in the Niveau filter to add punch, fullness and weight to the bottom end of thin mixes. Use the 354E’s M/S (mid-side) mode to compress hard-panned guitars without affecting the kick drum, bass and lead vocals. Calibrate the 354E’s internal operating levels to adapt to any mastering situation and handle the hottest or weakest mix with equal ease and grace. A and B workspaces let you compare alternate control setups for perfect, nuanced results.

Whether using it to pump up individual tracks to ginormous size, add density to full mixes, or apply subtle surgical compression to correct imbalanced masters, the versatile Lindell 354E is your paint brush for colorful vintage sound.

Activate the fully functional 14-day demo with your Plugin Alliance account today to hear for yourself (no dongle required)!

Legal Disclaimer: Neve and 2254E are registered trademarks of AMS/Neve Inc. The Lindell 354E was developed by Lindell Audio based on its own modeling techniques. AMS/Neve has not endorsed nor sponsored the 354E in any manner, nor licensed any intellectual property for use in this product.

FEATURES

  • Faithfully models the most famous vintage diode bridge compressor, the Neve 2254E, in each of its three independent frequency bands
  • Adjustable crossover frequencies between bands allow you to home in on where compression is needed most
  • Ratios range, in five steps, from 1.5:1 for mastering and master-bus compression to as high as 6:1 for shaping individual tracks
  • Switchable Nuke mode over-compresses tracks to dramatic effect
  • Mid/Side mode focuses compression on mid or side channel—or in stereo—for surgical precision
  • Highpass filter in sidechain lends greater punch to compressed drums, bass guitar and other bass-heavy instruments
  • Switchable Niveau filter tilts sidechain’s frequency response to preserve bass energy—great for creating the killer API “thrust” compression effect
  • Mix control provides instant parallel processing, especially useful for blending radically compressed signal with pristine dry input when compressing drums, adding density to rock guitars and more
  • Bands can be linked and soloed
  • Adjustable, wide-ranging attack and release controls include blazing-fast 2µsec attack time for radical compression and Auto release for artifact-free processing
  • Optional auto-makeup gain for each band
  • Three-way meter displays I/O and gain-reduction levels in turn
  • Internal operating levels can be calibrated in nine 1dB steps for precise mastering applications
  • Resizable user interface and up to 16x oversampling for digital precision in any environment

SPECIFICATION

Supported Plugin Formats
AAX Native, AU, VST2, VST3

Supported Operating Systems
Mac OS X 10.8 through 10.12
Windows 7 through 10
Pro Tools 10.3.10 or higher or any VST/VST3/AU-compatible host running on a supported operating system

Mac
Intel CPU only (minimum 2 GHz recommended)

PC
Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; minimum 2 GHz recommended)

System Requirements
Display resolution: 1440 × 900px or 1280 × 960px or higher
Memory: 2 GB RAM

DOWNLOADS

With the Installation Manager, you can select, download and install just the Plugin Alliance products and formats you need for your system. During this initial release, we at Plugin Alliance look forward to hearing the feedback of our valued customers, as your input will help shape future versions of this utility.

354E Installers

Installation Manager

Manuals

How To Make A FREE Hip Hop Beat Machine [Plugin Alliance – Brainworx bx_subfilter]

How To Make A FREE Hip Hop Beat Machine [Plugin Alliance - Brainworx bx_subfilter]

Here are a couple of FREE things you can use right now to make some killer Hip Hop beats. I recently got a copy of bx_subfilter from Brainworx and wanted to check it out. So I started digging around in my dropbox for some sounds to load up into Pro Tools.

I had already downloaded some great drum loops from The Drum Broker at HipHopSamples.com and forgotten about them because they were sitting in a folder untouched. So I loaded those up in my session and threw the Brainworx bx_subfilter on. Holy Shnikees, 

This combo sounds incredible!

The bx_subfilter is the perfect plugin to add that fat resonant low end onto a hip hop sample. It can totally transform a kick drum inside a loop. I was able to turn a couple of knobs and go from the loop sounding like a single drum head on the kick to a nice big double head. It sounds like I put an actual resonant kick mic in front of the drums. So cool!

But don't take my word for it. Listen to this video and you can hear how quickly I was able to get a really cool sound. And remember both these things are FREE. So you can go get them right now:

Here is what you need to get:

1 - Go To The Drum Broker​: HipHopSamples.com

2 - Go to Plugin Alliance: bx_subfilter

This combo sounds incredible! The bx_subfilter is the perfect plugin to add that fat resonant low end onto a hop hop sample. It can totally transform a kick drum inside a loop. I was able to turn a couple of knobs and go from the loop sounding like a single drum head on the kick to a nice big double head. It sounds like I put an actual resonant kick mic in front of the drums. So cool!

Brainworx bx_subfilter

Overview:

This free plugin will be added to your account automatically when you join Plugin Alliance. If you already have an account you can download and start using this plugin today.

Polishing your mix’s low end can be tricky. Bass DI tracks can sound mushy, and kick tracks can lose their “pop.” Sometimes everything below 100Hz can become such an undifferentiated soup of noise that you just don’t know where to start! Start here: The bx_subfilter is just the ticket for adding clarity and definition to tracks that have troublesome low frequencies. There are lots of expensive and complicated EQ plugins out there, but when it comes to shaping your low end, the bx_subfilter is unique for its ease and simplicity. With just a few quick adjustments to its four-knob interface, you can breathe new life into those 808s that have been muddying your mix.

The bx_subfilter is a free plugin that borrows from the “Filter” section of its larger counterpart, the bx_subsynth. It’s the perfect plugin for anyone who loves the bx_subsynth’s unique approach to low-end filtering, but doesn’t need the subharmonic synthesis. If you think that cleaning up your low end shouldn’t break the bank or require twenty knobs, we’ve got a plugin for you.

Sign up at Plugin Alliance today and you’ll get instant access to the bx_subfilter, along with our five other free plugins. No dongles, no hassles, and no payment required!

FEATURES

  • Tight Punch knob implements a resonant high pass filter that’s especially formulated for cutting problem frequencies in bass-heavy tracks
  • Resonance selector applies three peak settings to the filter – Low, High and Extreme – for accentuating punch while taming low-end rumble
  • Low End control applies a post-Tight Punch fixed bandpass filter, to achieve that perfect frequency balance
  • Input/output gain controls for level matching and preventing clipping

SPECIFICATION

Supported Plugin Formats
AAX DSP, AAX Native, AU, AAX AudioSuite, Venue AAX, VST2, VST3

Supported Operating Systems
Mac OS X 10.8 through 10.12
Windows 7 through 10
Pro Tools 10.3.10 or higher or any VST/VST3/AU-compatible host running on a supported operating system

Mac
Intel CPU only (minimum 2 GHz recommended)

PC
Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; minimum 2 GHz recommended)

System Requirements
Display resolution: 1440 × 900px or 1280 × 960px or higher
Memory: 2 GB RAM

DOWNLOADS

Use the links below to download your free copy of this plugin.

bx_subfilter Installers

Installation Manager

Manuals

Instant Suspense & Insanely Cool Soundscapes – Introducing Phobos From Spitfire Audio

Introducing - BT Phobos from Spitfire Audio

You know that scene in a movie or a video game where the character enters a mysterious room or is exploring a giant space ship? You know... suddenly there is this huge spacious soundtrack that you can't quite put your finger on, but it just gives you a sense of awe? Like giant breathing metal monsters floating on galactic winds?

Imagine to try to create that sound! I wouldn't even really know where to begin...

Enter BT PHOBOS from Spitfire Audio

Phobos is like a one stop shop for instant suspense and insanely cool ​soundscapes! Within seconds you can create sounds that will transport you to another world if you jump right into the presets. And even without understanding whats going on under the hood you can still easily grab cool looking graphical controls and start morphing your sounds to taste.

Phobos is a ​"POLYCONVOLUTION SYNTHESIZER" which as I understand it means that it takes multiple sound source inputs (think wav files and loop samples) and convolves them against other impulse responses. This essentially transforms input sounds that might be sort of "plain vanilla" to start into wide new soundscapes that can have a huge sense of depth and mystery.

I found the explainer videos from Spitfire really fascinating, leaving me excited to dive into this synth and put in some fun time learning it. But you don't have to. The presets alone would give you plenty of great sounds for the right uses without ever even turning a knob.

And while I believe this plugin was really created for the sound designer, sometimes you just need something in the studio that sounds really different from the band. You know what I mean? Especially if you are creating analog meets electronic hybrid music!

Phobos is a must-have synthesizer for composers writing epic, cinematic electronic and hybrid compositions. Conceived by renowned composer and electronic music pioneer BT (The Fast and The Furious, Monster, Lara Croft: Tomb Raider), we’ve together developed a powerful new device to add a unique timbral expansion to your compositions by unlocking the liquid, morphing and transforming capabilities of convolution. With an asset base featuring over 20GB of unique hand built BT rhythms, pulses, textures and atmospheres, and a revolutionary polyconvolver engine, you can quickly and easily create molecular loops, patterns and textures to energise your music and hold your audience at the edge of their seats. - Spitfire Audio

PHOBOS WEBSITE
PHOBOS
FROM SPITFIRE AUDIO

OVERVIEW

Together with Spitfire, BT has combined over 20GB of his own personal bespoke new libraries (following on from Breaks from the Nu Skool and Twisted Textures) into a convolution synthesis engine that allows you to sculpt, filter, rhythmically cut and pulse impulse responses that are tonal, melodic and harmonic. Most importantly you can play them polyphonically.

This synthesizer, sound engine and bespoke library package represents years of diligent searching for new awe-inspiring sounds and sound design techniques. If you, like BT, are looking for a new wave of inspiration for your compositions that are evocative, emotional, expressive and truly new, you owe it to yourself to check out Phobos. It is a well of endless inspiration.

One of the greatest solutions Phobos provides is for composers wanting to engage their audiences for extended sequences and cues without things sounding repetitive or ‘loopy’. Phobos allows for an all new real-time interface interaction that allows the user to evolve, warp and transform their molecular patterns according to nuanced changes within a scene.

BACKGROUND

What is Phobos?

One of Mars’ moons? A synthesizer? A tool for creating massive cinematic and electronic rhythms? An engine for endless spectral combinations of wide, lush pads and ambiences with propulsive rhythmic figures? Is it a sound library of bespoke percussion, beats, micro rhythms, field recordings, live acoustic and orchestral treatments, textures and a massive vintage synthesizer collection? That is just scratching the surface.

At its core, Phobos is a synthesizer based on the unexplored precept of polyconvolution as a synthesis engine. BT came up with this idea many years ago doing sound design. What does that mean exactly? Polyconvolution as a synthesizer? Well, it means instead of using convolution for reverb or modeling an amplifier's distortion circuit, why not make a “reverb” impulse response tonal?

Combining something rhythmic with something tonal (as an impulse response) yielded some of the most modern, liquid and percolating ambiences and textures BT had ever heard. These are the kinds of sounds he has been searching for whilst scoring; those elusive sounds where the director asks for “movement and a feeling of drive, yet subtly”. That’s not to say that Phobos only excels at subtlety - it can sound massive, driving and aggressive, like an army of monsters in its scope and power.

PHOBOS

FEATURES

  • Revolutionary polyconvolution synthesizer, across 3 separate convolvers
  • Contains more than 2000 unique sounds, created by BT, that can be used both as a source or as an impulse response
  • Over 650 presets showcasing the possibilities of Phobos
  • Plugin that loads directly into any DAW that supports VST / VST3 / AU / AAX.
  • IRs in Convolvers are polyphonic, track pitch played and render in realtime
  • Loops as sound source / or as IR track host tempo
  • MPE Compatible (for use with multidimensional controllers such as ROLI Rise or Roger Linn Linnstrument)
  • Dedicated Gate Stages and Filters on each sounds source / convolver unit
  • All controllers mappable to controller and / or multiple LFOs
Please visit the Spitfire Audio website to learn more about BT Phobos