MUSIC
Zynaptiq UNMIX_DRUMS v1.0.0 WIN VST-AudioUTOPiA
UNMIX::DRUMS is a plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, a high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.

* Actually achievable amounts depend on input signal specifics.

The UNMIX::DRUMS features at a glance:

Source Separation-Based Control of Drum Level in Mixed Music.
SMOOTH and PUNCHY Boost Modes.
Sample-Accurate Sub-Bass (Re)Synthesizer.
Frequency Dependent Control of Key Parameters.
Intuitive 3-way GUI Design.

Applications for UNMIX::DRUMS include:

Balancing drums against the rest of a song in mastering.
Restoring dynamics to over-limited music in mastering.
Unique EQ alternative for mixed music.
Suppression of drums in sampled audio to remove "clashing" or "flamming" when mixing with new content.
Pre-procesing for drum extraction to create new drum-kits.
Drum suppression for Mash-Up creation.
"Drum Kill Switch" for Dj applications.
Pre-processing for voice extraction or similar applications.
Creative tweaking of drum stems - this can be used as a very unique dynamics processor/EQ hybrid.

UNMIX::DRUMS supports all common sampling rates from 44.1kHz to 192kHz, mono and stereo, as AAX native, AU, RTAS and VST, on Mac & Windows.
Zynaptiq Morph v2.00 WIN VST-AudioUTOPiA
MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object - for example, one face becoming ("morphing" into) another. MORPH creates seamless morphing transitions, hybrid sounds that combine aspects of existing ones, physically impossible instruments, unique creature and robot voices, talkbox-like effects, surreal sound-scapes and other unheard new sounds. MORPH not only offers a wealth of creative potential for game-/film-sound design, but also for music producers and remixers, allowing them to develop new content from existing recordings – all in sync and in real-time.

The MORPH 2 features at a glance:

5 Unique feature-aware structural audio morphing algorithms.
Morphs between two input channels or input and side-chain.
Dual morphing circuits with crossfade option.
High-quality formant shifter.
Uses proprietary signal transform technology for ehnanced fidelity and intelligibility.
Both inputs can be mixed into the output or switched to solo.
Built-In Hall Reverb.
Fully real-time for immediate results.
Cakewalk Z3TA+ 2 v2.2.0.95 WiN X86 X64 Patched
Z3TA+ 2 - The Ultimate Waveshaping Synth
Z3TA+2 is designed to suit any and all of your electronic productions. From pop to trap, energetic to atmospheric, you’ll have the sounds you need at your fingertips.

Waveshaping Synthesis

* Choose, tweak, and fine-tune your waveform
* Free and adaptive pitch-bending analog style performance grid
* 14 continuously variable dual-stage filter types
* Envelopes to control any parameter
* 6 Powerful LFOs for individual or universal control
* Straightforward Mod Matrix and Arpeggio tools
* Global control for a crushing brickwall limiter, level, tuning, and polyphony

Built-in Effects

* 5 distortion types, plus routing options and continuously variable controls
* Slow, Medium, and Fast compression with threshold, ratio, and makeup gain controls
* Totally tweakable Room, Hall, and Plate reverbs
* 7-band graphic eq with variable band settings and colorful Simulator Mode
* 9 adjustable Chorus, Phaser, and Flanger effects
* 4 Stereo Delay types with Sync and EQ controls
* Drag-and-drop effects in any order
McDSP FutzBox v6.1.0.8 WIN-AudioUTOPiA
FutzBox is a distortion and noise generator plug-in for creating low fidelity versions of audio signals. Typical post productions require distorted, or ‘futzed’ versions of dialog and other tracks. Simulations of radios, cell phones, and televisions are now available in a single software product. These simulations, 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
Slate Digital FG-X v1.4.0 WIN VST-AudioUTOPiA
FG-X Virtual Mastering Console Dynamics Module is the initial plug-in in Slate Digital's mastering line.

The Concept
Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. We have all been at the mercy of the "loudness wars" for over ten years now. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears.

Some of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. One of the more popular techniques is the use of saturation in both the analog and digital domain. Another popular method is clipping the front end of expensive A/D converters.

However, both of these methods, while usually more unobtrusive then peak limiting, have their downfalls. Static saturation curves are not universal in their ability to sound good on all transients. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Both static saturation and clipping have a small window of gain maximizing before audible distortion. Enter Slate Digital.

FG-X Dynamics Rack
Two years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio process that could increase the level of a mix without altering the punch and dynamic feel, or make the mix sound squashed and lifeless. They started by researching saturation curves and their effect on various types of transient material. After several months of study and hundreds of listening tests, they made some fascinating discoveries. What they found, was that in order to transparently add level to a mix, a dynamic and intelligent transient saturation system would have to be developed.

New Advanced Algorithms were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. A new algorithm was formed, and the process was named "Intelligent Transient Preservation", or ITP.

ITP - Intelligent Transient Preservation
The ITP process uses a complex lookahead detection algorithm to analyze oncoming transients and groups of transients. It then optimizes a specialized set of saturation curves for that specific transient. For example, if the ITP algorithm's lookahead identifies a kick drum transient, it will optimize the algorithm so that it preserves low frequency energy. For a snare drum transient, it will optimize the algorithm to preserve upper mid range punch. The result is the most transparent means of level maximization the industry has ever heard, with extreme transparency, and no degrading artifacts common to peak limiters.

Control
The FG Level maximization plug-in offers the user complete control of their mix, before and after the level maximization process. The Transient function contains two controls to fine tune mix transients. Enhance allows you to transparently increase the level of the transients in a mix, increasing the punch and dynamics without altering other elements of the mix. Detail adds more clarity and focus to the transients, perfect for buried snares or kicks. You will find the Transient functions not only ideal for mastering, but as great tools for the mixbuss and even drumbuss.

After the ITP powered Gain maximizer, there is a function called Impact. This new process can make even the loudest masters sound more dynamic, open, and punchy, even though the master has much more limited dynamic range then the mix.

Be Safe
In the rare case that a mix has poor frequency balance or small bursts of low frequency energy (such as a quick floor tom hit), the Safety slider prevents unwanted distortions or crackles, that until now have been extremely hard to prevent or tame. The dynamic multiband Safety algorithm reacts quickly and backs off quickly, allowing the FG Level to remain transparent and create worry free masters without artifacts.

Mastering Quality Compression
Some mastering compressor plug-ins try to emulate vintage analog units and add color, harmonics, and different filters that change the way your mix sounds. Most top mastering engineers use very little or no compression. When they do use compression, they use only the most transparent compressors that will not alter the tone or balance of the mix.

Slate Digital says the FG Dynamics plug-in is a true mastering quality compressor meant to control the dynamics of your mix in the most transparent way possible, not to color it with digitally modeled harmonics or distortions. The FG Dynamics compressor assumes that you have used your favorite color or tone compressor to achieve the sound on your final mix. It is the job of the FG Dynamics compressor to maintain that quality, not alter it. The advanced dynamics algorithm is claimed to be so transparent, you'll wonder if its on.
Slate Digital Virtual Buss Compressors v1.2.6.4 WIN VST-AudioUTOPiA
Virtual Buss Compressors comprises three unique sounding, 100% analog-modeled dynamic processors that are designed for program material including full mixes, mastering, drums, group mixes, and more. Every nuance of real analog compressors has been modeled; including the exact nonlinear characteristics of their transformers, tubes, VCAs, amplifiers, phase distortions, harmonic distortions, and timing.

Virtual Buss Compressors contains 3 models of some of the industry's most sought after analog gear:

The FG-GREY is a replication of the classic British console compressor, with some fat sounding transformers added in to beef up the low end. The GREY is designed to give a mix that classic glue and punch.
The FG-RED is a replication of the classic RED mixbuss compressor that has been used for decades by some of the world's top mixers. It is designed to sound tight, punchy, with rich harmonics from the output transformers.
The FG-MU is a hybrid of several tube compressor designs that are lush, warm, fat, and open sounding.

Each compressor also includes a hi-pass filter and parallel mix wet/dry knob for flexibility. Finally, some of the most common professional presets have been added to each compressor to get a user started quickly.
Slate Digital VMR Complete Bundle v1.1.0.4 WIN VST-AudioUTOPiA
Virtual Mix Rack includes four world class mix modules, including two classic equalizers and two versatile mix compressors, with more modules to be developed.

The 'VMR' operates as a Virtual 500 series rack with hot-swappable modules, putting your whole processing chain in ONE WINDOW. This allows you customize your own channel strip, with signal flow following the modules, in any order you choose. Mix and match filters from different EQs. Chain an EQ before or after your compressor. Moving modules around is easy, fast, and creates no break in audio playback. Audition signal chains faster, easier, and in real time with the Slate 'VMR'.

The FG-N is a digital recreation of one of the most classic discrete Class A British equalizers from the 70's. All aspects of the circuit are modeled, including the rich harmonics and saturations that naturally occur when the equalizer is in use. The original model only contained one mid band, so we thought it would be nice to double it so that it has two mid bands. This equalizer is lush, fat, and bold. It sounds great on everything from drums to vocals, and can even add the perfect saturation to synth and electronic tracks.

The FG-S is a digital recreation of one of the most famous British console equalizers from the 80's. This equalizer also has rich harmonics and interactive mid bands with a fat musical tone. This is the ultimate workhorse mix eq that can be used on any track. It is great for surgical cutting strokes, or wide bell and shelf strokes for making drums and guitars punch out of the speakers.

The FG-116 is the most precise digital replication of the classic American FET limiter. No expense was spared to capture every nuance of this classic sounding compressor/limiter. From its trademark timing characteristics to the extremely musical sound of its transformer, the FG-116 will give engineers the musical and fat tone that has made the hardware so famous. The FG-116 sounds great on everything like lead vocals, drums, and bass guitars.

The FG-401 started as a recreation of the classic british console channel compressor, but morphed into quite a lot more. First, we gave it variable attack and release with increased range which added more tonal options. But then, we added an optimal transformer inout, and not just any transformer, the famous transformer from the British Class A Console! This adds a beautiful warmth and sheen to the compressor. Last, we added an entirely unique second circuit path that provides and additional smooth and rich tone. The FG-401 is perhaps the most versatile mix compressor in the world that can sound good on any source you feed into it.

Unlike so many 'analog modeled' equalizer plugins and compressors that simply recreate analog equalization and compression curves, the VMR models every nuance of the circuit paths and recreates all of the essential harmonics, saturations, phase, and interactivity that give the units their trademark tone.

The VMR plugin is also modular, and new processors will be added in the future which will further enhance its powerful functionality.
Overloud BREVERB 2 v2.1.8 MAC OSX-Kleen
Of course, it would have all of the best reverb units used by the most famous engineers: a classic white '80s unit with its smooth and creamy tone that has been used on thousands of famous hits; a modern reverb unit with crisp and punchy tone, to forge your own unique sounding room; a dedicated post-production unit and thousands of ready-to-use presets created by some of the most respected people in the music and film industry to speed up your workflow.

Or... think of BREVERB 2
Get that €20,000 sound, all in a single plug-in, for less than €200!
BREVERB 2 makes your mixes sound like a Grammy Award winning song.

Features at a glance
7 main Algorithms: Hall, Room, Plate, Inverse, Spaces small, Spaces large and Sources.
Algorithms for any application: from mixing to post-production or from classic tones to modern and creative tones.
More than 50 ambient spaces recreated.
More than 270 factory presets, covering any kind of ambience or application, designed by top-notch sound engineers.
Modeled after the most sought-after hardware units.
Each algorithm is engineered with no compromises in the sound for maximum quality.
Full EQ section to tailor the frequency response of the reverb.
Extended Nonlinear section to creatively shape your reverberation.
"Motion" parameters add liveness, musicality and the "air movement" of a real room.
BREVERB 2 emulates the analog output section of the hardware unit, making BREVERB 2 truer to the sound of the originals.
Two different user interface modes: a compact interface or a hardware-like interface.
Six fully assignable and automatable hardware-like faders.
Full automation through host sequencers.
Multilevel undo/redo.
Real-time MIDI control of any paramters through the six faders.
No additional latency introduced!
Extremely low CPU usage: 120 stereo instances can be opened on a Core 2 Duo 2.4 GHz MacBook Pro without any glitches or dropouts!
Host-sync of all rates and times.

Install:
- Install first from the included PKG INSTALLER
- Replace the AU or VST with the cracked one
- Done!
::::: ENJOY! :::::


UVI UltraMini 1.5 WiN/MAC
UltraMini 1.5 is here, bringing with it over 200 new factory patches, a significantly optimized low-CPU mode and computer-based authorization. Two legendary analog synths with the ultimate convenience of digital—now leaner, meaner and easier to use than ever!

The Beauty of Firsts
There's something evocative and mysterious about firsts. Normal people will recall their first pet, first crush or their first kiss. That's not us. For us, that warm ethereal feeling comes from our first analog synth. There's something timeless about it. Part of it is its place in history, being the first affordable and accessible analog synthesizer. Part of it is a sonic fingerprint that resonates through over 40 years of live and recorded music. Regardless of the criteria we can only summarize by saying this instrument has made a permanent impression on us, and we're not alone.

A Prolific Past
First made available to the public in 1971, this synth continued to be produced with very little change for over 10 years. Considered the most popular synth ever by some there's no doubt the instrument has led a prolific life, leaving a massive wake in its path; changing perceptions and influencing synthesizer design to this day. With a striking balance of simplicity and sonic range it was one of the first real novice-friendly systems, a factor that surely contributed to its success and also made it a superb tool for teaching the basics of subtractive synthesis.

There's No Quitting You
As firsts often do, this one taught us a great deal. It cultured in us a sensitivity to intuitive design and the importance of great sound regardless of form. In fact we've been speaking about it from a project perspective since we began. We knew that if we were going to do it, it would not only have to sound great but it would need to elicit that same balance of immediate simplicity and sonic reward - a deceptively complex task. As time progressed our vision crystallized; the design was ambitious but it was clear to all of us that this was a project we had to do.

Heart of a Hybrid Monster
One of our specialties is making hybrid instruments. With a hybrid instrument we get the best of both worlds. High fidelity sample-based waveforms, produced by real circuits in real machines, give the instrument a pure sound from the start. Then accurately modeled filters and effects are used on the backend to shape and control the sound, spending precious CPU cycles only where they're needed. For this approach to work you need to build an amazing library of sounds and marry them to a truly advanced DSP engine. This is exactly what we've done for UltraMini thanks to hundreds of man-hours of tedious multisampling and the award-winning UVI Engine™.

Two Analog Souls
We started with the beautiful 1971 model, sampling every waveform of every oscillator across every key - and we did this for multiple overdrive settings. UltraMini seeps with a thick and immediate analog sound produced with the same 3-oscillator configuration. But we didn't stop there. In 2002 the king of mono synth had a second coming; this version has its own wild character and we figured, what better way to make a Mini ultra than to give you two of them. Taking the new 2011 model, we performed the same comprehensive session creating an identical sample footprint.

UltraMini includes two fully independent instruments with uniquely skinned GUIs giving you the choice of vintage analog or crushing new school grit.

Beyond Mini
Oscillators are only half the story - what about the filters?

Don't worry, we've got you covered. We've included not one, but two of our aggressive analog-modeled Xpander filters in UltraMini, giving you unprecedented control and a sound so sweet you'll swear it's analog.

Additional features include amplitude and filter key follow, unrestricted polyphony, mono retrigger, per-oscillator amplitude, stereo, color and drive control, a built in bit crusher, phaser, delay, limiter and our advanced algorithmic reverb - SparkVerb, built-in phraser and arpeggiator assignable per-oscillator, step and LFO modulations and a huge library of expertly crafted presets to explore.

UltraMini has been designed to give you a rich, authentic sound and an immediate experience. An elegant GUI presents controls in an easy-to-understand layout, grouped for efficient and intuitive operation eliciting the feel of a real analog synth.

Whether you're an analog aficionado or just looking to add a sonic giant to your studio, UltraMini won't disappoint. A preset-packed, tweaker friendly ode to the arbiter of analog - available now at an incredible value.

Summary
Size : 1.8 GB library
Collection : 2 instruments give you unprecedented access to a legacy of authentic analog sound
Content : 422 presets, 6,244 samples
Sample Resolution : 44.1 kHz. Recording at 96 kHz.

NO NEED FOR iLOK
Open the Multi Tab and load the presets
UVI Workstation v2.6.0 included
Have Phun


Synapse Audio DUNE 2
DUNE 2 provides a yet higher sound quality and allows for an even wider range of sounds than Dune 1. New oscillators, new filters, new effects and graphical envelopes are just some of the new additions.

Our most popular synth DUNE is back – and better than ever!

DUNE 2 was rewritten from scratch, in order to provide a yet higher sound quality and allow for an even wider range of sounds. New oscillators, new filters, new effects and graphical envelopes are just some of the new additions.
With a maximum reserve of 8320 oscillators at full polyphony, DUNE 2 is a true unison monster, unlikely to ever run out of oscillators.
DUNE 2 is available as 32-/64-bit VST/AU plugin for Windows and Mac OS X.

DUNE 2 features summary

VA, Wavetable and FM Synthesis
Two oscillator stacks with 32 oscillators each
Third oscillator and noise generator
8x Unison = up to 520 oscillators per note!
16 voices of polyphony = up to 8320 oscillators total
Full version comes with more than 400 patches
Zero-delay feedback filters
Four graphical envelopes (MSEG)
Three low-frequency oscillators (LFO)
Modulation matrix for synth and FX parameters
Two Master FX busses with 9 high-quality effects each
Innovative Arpeggiator with MIDI file import