Bitsonic Godlike 3 Pro v3.0 VST RETAiL
Soft / VST Instruments 7-04-2016
Bitsonic Godlike 3 Pro v3.0 VST RETAiL
ANALOG SOUND IN YOUR DIGITAL SYSTEM. 
Godlike started out as a project to pass our time, but through the years it became one of the best Mastering softwares on the market. It easily rivals the well-known Mastering softwares, but it maintains a reasonable and fair price.

There are several excellent quality Mastering programs in reachable price, but during long years none of them developed into the expected level. This software has been brought onto the market by need, and it includes some unique functions, that you cannot find in the competition's products.

The most important aspect of this program is that it is designed to emulate the behaviour of analogue circuits and tape recording. Digital mastering often leads to an unattractive, harsh sound, whereas analogue systems generally allow greater control of volume and tone to be achieved while retaining the smooth sound that most listeners prefer. The software is designed to allow this sweet analogue sound from your digital studio.

Godlike 3 Pro is the middle child of the series. It's useful for those who want to do more complex mastering projects. Godlike Mini is included in this package. This software is free for those who own Godlike 2.

The software includes the Auto EQ application that maps the frequency values of the audio and changes them into a more linear frequency.

The Equalizer is editable in 7 different frequency ranges, and it includes a HP and an LP filter as well.

The software also has a 4 way multiband compressor and a 4 way stereo imager where the volume of the side and middle sounds can be edited. Their position in space can be changes with the Pan function, and if necessary the delay function can be used to create a greater sense of space.

The reverb function has the brand new feature of being able to change the intensity of the reverb from frequency to frequency.
Saturation is a whole new function where the audio sign can be edited in 4 frequency ranges. Using the feature the volume of the overtone sounds can be strengthened, and a more analog tune can be achieved.

Tube emulation is still a basic part of the Godlike series. The feature allows the software to create fat sub and nice high frequencies unlike any other program.
Maximizer helps with the prevention of overdrive, and with creating a higher volume for the audio.

If the frequency is treated with compressor or a HP filter, the software is capable of achieving a tune without distortion even at extreme (-2RMS) values.
Furthermore, a comparative wav file can be loaded as well. If the user wishes to compare the tune of the mastering created by us, and the tune of any other music, this feature is the key.

The main differences compared to the Ultimate version are as follows:
1) No Mid-Side mode
2) No Auto-EQ

home page:

http://bit.ly/1MatB5h
Related articles
Bitsonic Violent MidSide Stereo Image Modifier v1.0 JUSTiFY Bitsonic Violent MidSide Stereo Image Modifier v1.0 JUSTiFY
Soft / VST Instruments 1-04-2016
Using Mid/side Stereo Image Modifier you can freely change the sense of space, in 4 different frequency-ranges. Mid/Side mode optimalizes the audio sign. 

The pan controls are used to position a channel between the left and right side of the stereo spectrum. You can change the volume or stereo image with the delay function. Reverb function gives different reverbs to the 4 frequency-ranges.
Bitsonic Violent Maximizer v1.0 JUSTiFY Bitsonic Violent Maximizer v1.0 JUSTiFY
Soft / VST Instruments 1-04-2016
Using Mid-Side Maximizer you can raise the volume of the audio sign without putting it into overdrive. 

The process drops the dynamics range. The Violent Maximizer gives you full control over the volume of your audio. You can use it on master channel, and you can reach maximum volume without the drastic drop of transients. 

Using the mid-side mode, you can higher the volume even more. You can observe and change the important RMS and LUFS dB rates. The Maximizer can even be used on soloistical sounds – the Violent Maximizer isn’t agressive on transients. If you’ve ever met a „good enough” compressor-maximizer that even with small changes, lowered the transient rate drastically, then you can understand why a great compressor-maximizer is important. 

There are quite a lot of overvalued softwares on the market, with over- the-top prices - the makers tell you that „quality has a price”. We, at Bitsonic think, that this can be done with realistic prices as well. A lot of people use hacked softwares, but you have the chance to legally use Violent Maximizer’s functions, considering the low price. And even if you have no money, you can still use the demo version – with the loss of some comfort functions.
TBProAudio gEQ12 v1.3.4 AAX RTAS VST3 VST CE-V.R TBProAudio gEQ12 v1.3.4 AAX RTAS VST3 VST CE-V.R
Soft / VST Instruments 14-03-2016
gEQ12 is 12 band stereo/MS graphic equalizer with accurate spectrum analyzer and minimum/linear phase modes.

Today's mixing and mastering processes require a full featured but easy to use equalizer which can accurately shape the tone of a track , bus or master track. eEQ12 provides all necessary tools in one package paired with some unique features.

The display shows the spectrum curve of incoming and outgoing signal. gEQ12 has the unique feature that the outgoing spectrum is directly calculated from incoming spectrum (incoming spectrum - filter curve = outgoing spectrum). This allows you to capture the incoming signal, to freeze it and to modify then the filter curve based on the altered outgoing spectrum. The filter response is controlled by 12 individual filter bands. Each filter band has its own display handle, which can be adjusted by mouse.

gEQ12 consists of 12 stereo filter in series. Each filter can be configured individually by setting type, stereo placement (all, left/mid and right/side), slope, frequency, gain and q-factor.

gEQ12 offers 9 analog modeled and 8 digital (Butterworth) filter. The filter quality can be increased by using oversampling. This ensures "analog" filter magnitude/phase response near Nyquist frequency. On top of it gEQ12 can operate in several minimum or linear phase modes, which can lower CPU usage and makes filter phase response linear.

12 independent filter bands, extended frequency range 10Hz - 48kHz
17 filter types, analog/digital design, zero delay IIR
filter slope up to 96dB
independent stereo/left/right/mid/side processing per band
7 processing modes: zero latency, minimum/linear phase
stereo/MS processing (e.g. stereo/mono split)
sample rates up to 192 kHz
"real" over sampling, up to 4x
hi-res spectrum analyzer with 32k FFT based ISO R40 frequencies
pre/post-EQ, average/live spectrum, stereo/left/right/mid/side
narrow-band sweeping mode
spectrum freeze mode
very easy alignment of filter response curve to audio spectrum
sample exact A/B toggle for all processing modes
precise parameter input
large and easy to use GUI
interactive spectrum/EQ display
full DAW automation support, smooth filter frequency change
64-bit internal processing
very efficient CPU usage design

1.3.4
- Small fixes
- Demo scheme changed
Slate Digital FG-X v1.4.0 WIN VST-AudioUTOPiA 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.
Plug And Mix PRO-Series v1.0.2 MAC OSX Plug And Mix PRO-Series v1.0.2 MAC OSX
Soft / VST Instruments 19-11-2015
The "Pro Series” collection includes "E-Max” a transparent linear phase equaliser, "OptoMax” a powerful opto compressor and "Tube Exciter” a subtile tube exciter and sub bass enhancer. 

The Ultimate Precision 'Pro Series' Pack includes 3 professional plug-ins that are part of a new collection called "Pro Series” Plug-ins. The "Pro Series” plug-ins have been designed to reflect the need and requests of P&M’s most demanding professional customers that use the 'V.I.P. Series' plug-ins in their daily tasks. The "Pro Series” collection includes "E-Max” a transparent linear phase equaliser, "OptoMax” a powerful opto compressor and "Tube Exciter” a subtil tube exciter and sub bass enhancer.

Emax :
The P&M "Emax” is a professional Equalizer that is one of the most essential tools for any producer, mixing or mastering engineer. P&M E-Max Equalizer provides the highest quality tool for sculpting your sound with a stunning new interface for precise control. E-Max goes beyond the expectations of a normal EQ with its built in Sonic Maximizer for extra "sweetening” and a Linear Phase mode for mixing & mastering which preserves the transients and transparency of your music.

OptoMax :
The P&M "OptoMax” is a state of the art plug-in for use in your favorite digital audio workstation. OptoMax is designed to give you precision dynamic control over any type of media whether its vocals, drums or entire compositions. The plug-ins intuitive user interface allows for effortless control over compression levels, and frequency side-chaining, as well as other crucial sonic analysis tools.

Tube Exciter :
The P&M Tube Exciter delivers punch, clarity and sparkle to any signal you run through it. The plug-in features Tube Exciter, Tube Saturation and Sub Bass enhancers which can enrich your sound in subtle and drastic ways. The plug- in’s unique interface allows for precision adjustments using elegant graphical curves and audio analysis tools giving you a realtime window into the sound processing. P&M Pro Tube Exciter can be used on practically any audio source to improve the sound: From Broadcast and Live P.A. systems, to recording Guitars, Vocals and Bass, to Mixing and Mastering your songs.

AU - VST - AAX
Use the included Keygen to authorize the Plug-Ins!
Or use the included Serial Numbers.

System Requirements:
Mac OS 10.6 and above
Macintosh Intel 1.5 GHz
2 GB RAM
32 & 64 bit Support

Updated: November 13, 2015 
Today we are proud to announce the 1.0.2 version of the Pro Series Plug-ins. Included in this new version are improved ProTools 11 and 12 compatibility and minor bug fixes.
Kuassa EVE-MP5 v1.0.0 VST VST3 x86 x64 Kuassa EVE-MP5 v1.0.0 VST VST3 x86 x64
Soft / VST Instruments 20-10-2015
INSPIRED BY THE LEGENDARY FOR THE MODERN AGE

Inspired by the Pultec* MEQ-5 and EQP-1A combined into a single, compact plugin.
A unique saturation feature with intelligent level compensation. Perfect for adding grit to basslines, making vocals stand out in the mix, or instant mojo for anything. Also works great for mastering!
Authentic frequency response. Experience the Pultec* specific tricks with a modern twist.
EVE-MP5 Supports various audio plugins: VST, VST3, Audio Units, AAX, and Rack Extensions which compatible with all kind of Digital Audio Workstation softwares such as Logic Pro, Ableton Live, Reaper, Nuendo, Cubase, Cakewalk, FL Studio, Propellerhead Reason, Avid Pro Tools, and many more.


Windows XP, Vista, 7, or Later (32/64-bit)
Mac OS 10.5 or later (32/64-bit)
VST, VST3, Audio Units or AAX compatible Host Software

Please note that this product is a plugin, a VST/VST3/AU/AAX compatible host/sequencer is needed to run this software