The Suite includes:
TrackPlug 6
TrackPlug is our most popular plug-in, an all-in-one channel strip which features a 10-band EQ, brickwall filters, spectrum analyzer, dual multi-mode compressors, gate/expander, extensive sidechain options, and a peak limiter. It also boasts Wave Arts’ outstanding sound quality and impressive CPU efficiency.
TrackPlug’s interface has been meticulously designed for visual clarity and ease of use. For example, the EQ interface lets you add a new EQ band by double-clicking, then you drag the control point to change frequency and height, right-click (shift-click on Mac) to change width. Right-clicking on a meter or display axis gives a popup menu of display ranges. Right-click a knob drag to get fine tune adjustment, double-click a knob to revert to default value. And so on.
Our preset manager lets you A/B compare two different presets or undo the last change. TrackPlug also features preset managers per section so for example you can quickly combine an EQ preset with a compressor preset. Super handy.
Like all Wave Arts’ plugs, TrackPlug only consumes CPU for features that are enabled, so if you just need a few bands of EQ and some compression, TrackPlug has a negligible CPU load. Even with everything turned on, TrackPlug is very light on CPU. We’ve had users report using over 100 TrackPlugs in a single project. The applications for TrackPlug are virtually endless: shape the tone of an instrument, fix sonic problems, bring dynamics under control, clean up noise problems, add some punch or vintage warmth to a track, de-ess a vocal track, and much more… The outstanding user interface puts the power of TrackPlug under your control.
Tech Specs:
- 10 bands of professional, 64-bit EQ
- EQ band types: parametric, low/high shelf, analog low/high shelf, resonant low/high shelf, low-pass, band-pass, high-pass, or notch filter
- Brickwall lowpass/highpass filter section
- Third-octave spectrum analysis display
- Dual multi-mode compressors and a gate
- Clean, vintage, peak, and RMS dynamics modes
- Sidechain EQ support on each dynamics section
- External sidechain support (VST3, AU, AAX)
- Adjustable lookahead delays
- Peak limiter
- Comprehensive metering
- Master preset manager and preset manager per section
- Over 60 master presets, 30 compressor presets, 60 EQ presets, 10 gate presets
- Latency compensation, latency matching when bypassed
- Fully automatable
- Up to 192K support
- Mono or stereo
MasterVerb 6
Why is MasterVerb a great reverb?
- 1) It sounds great. The rooms sound natural and spacious. The plates are extremely dense. The decays are silky smooth without annoying artifacts. The reverb is clearly audible without being muddy. When applied to stereo inputs, the stereo soundstage is maintained with proper balance.
- 2) It can reproduce a range of spaces. MasterVerb contains two different algorithms to generate the dense late reverberation: a hall algorithm and a plate algorithm. Each of these algorithms has independently adjustable size and decay time controls, so they can be morphed across a wide range of characteristics. The hall algorithm is intended for acoustic spaces, e.g. rooms, chambers, studios, halls, while the plate algorithms is for, well, plate reverbs. An early reflection section allows for various early reflection patterns, again with adjustable size. Wet and dry delays allow for pre-delay and other delay effects. Two three-band EQs are provided: the early EQ shapes the overall tonality of the reverb response and the late EQ shapes the frequency dependent decay. On top of that there is a triggered amplitude envelope which can generate gated and reverse reverb effects. So, there is a ton of flexibility here. MasterVerb ships with 60 presets which cover a wide range of reverbs and serve as starting points for further exploration.
- 3) It’s easy to use. The interface allows you to quickly visualize the changes you are making. A reverb time response lets you see the reverb decay, early reflections, amplitude envelope, and delay settings. A 3-D frequency response plot shows the reverb decay as a function of frequency. There are graphical frequency response controls for both EQs.
- 4) It’s CPU efficient. Considerable effort went into designing the low level algorithms so they could be fully automatable and also extremely CPU efficient. The result is that MasterVerb takes far less CPU than other reverb plug-ins.
Tech Specs:
- Early reflection section- halls, rooms, plates, chambers, echo, cathedral, nightclub, ping-pong
- Two late reverb algorithms – Hall (for all sizes of rooms) and Plate (for super dense plate reverbs)
- 3-band EQs for early and late frequency response adjustment
- Early/late and wet/dry controls for adjusting mix
- Triggered envelope control for special effects such as gated and reverse reverb
- Graphical “character” control allows you to quickly adjust the size and decay time of the space
- Time response plot showing delays, early reflections, late reverb, and envelope
- 3-D frequency response plot of reverb decay
- Over 60 presets
- No latency
- Fully automatable
- Up to 192 kHz support
FinalPlug 6
FinalPlug is a professional peak limiter/volume maximizer with extensive bit depth truncation and dither options,making it ideally suited for a final mix. Tame the peaks a bit, or really squeeze all the volume you can out of it.
The FinalPlug interface could hardly be simpler. Select a desired output ceiling level, say -0.1 dB, and then adjust the threshold level. As you decrease the threshold you increase the volume.
The peak limiter section works by looking ahead 1.5 milliseconds. When a input peak is detected that will exceed the desired output ceiling, the gain is quickly ducked to let the peak pass, then the gain is restored relatively slowly according to the release time control. During rapidly changing program material with frequent peaks, a faster release time will achieve better results. During slowly changing material, slower release times prevent excessive modulation distortion. FinalPlug’s auto release feature analyzes the input signal to determine peakiness, and selects the optimum release time for the program material.
The truncate/dither section is usually used for CD mastering, where truncation to 16 bits can create audible quantization distortion. By adding special dither noise, the quantization distortion can be eliminated, and the dither noise can be spectrally shaped to move it to frequency ranges where it is less audible. FinalPlug contains a comprehensive noise shaping section which reproduces a variety of commonly used noise shapes.
Tech Specs:
- Sonically transparent peak limiting, use as mastering limiter or volume/loudness maximizer
- Auto release control for greater sonic clarity
- Bit depth truncation from 4 to 24 bits
- TPDF dithering
- Comprehensive noise shaping options, choose between 12 noise shapes
- Presets for CD and DVD-audio mastering and track compression
- Latency compensation, and latency matching when bypassed
- Up to 192 kHz sampling rate
- Mono or stereo
MultiDynamics 6
MultiDynamics is a powerful multi-band dynamics processor useful for mastering, track processing, sound design, and noise reduction. MultiDynamics provides up to 6 bands with independent compression or expansion per band. MultiDynamics has an elegant and ingenious user interface that makes it easy to edit bands and to visualize and hear what is happening.
Multiband dynamics processing combines the techniques of equalization and single band dynamics processing. A simple application of multiband dynamics is to apply compression or expansion to a specific frequency range. It is also possible to think of multiband dynamics as applying equalization which is dependent on the level of the input sound. So one can set up an EQ curve for low volumes and set another EQ curve for high volumes.
Another use of multiband dynamics is noise reduction. One can set up multiple bands to do noise gating, by setting the gain to decrease when the signal falls below threshold. Also, multiband dynamics applied to solo instrument sounds can be used for sound design. It is possible to split up the sound into different frequency ranges, apply compression to some and expansion to others, and dramatically change the character of the original sound.
Tech Specs:
- Up to 6 independent bands
- Proprietary crossover filter network eliminates amplitude distortion between bands
- 6 dB/oct, 18 dB/oct and 30 dB/oct crossovers
- Full featured compressor or expander/gate per band
- Dynamics controls per band: Lo Gain, Thresh, Hi Gain, Ratio, Attack, Release, Knee
- Per band and All band control editing
- Clean (for transparent sound) and vintage (for analog colorization and warmth) dynamics modes
- Per band Bypass, Solo and Mute controls
- Comprehensive visualization of input levels and dynamic EQ response
- Adjustable lookahead
- No latency if lookahead is off
- Latency compensation, latency matching when bypassed
- Up to 192 kHz sampling rate
- Mono or stereo
Panorama 6
Panorama is a specialized tool for creating stunningly realistic 3-D audio scenes using regular stereo sound. The DSP technology in Panorama reproduces psychoacoustic sound localization and distance cues, allowing you to pan sounds in three dimensions: not just left and right, but up, down, front, back, near, and far. Panorama combines HRTF-based audio panning with acoustic environment modeling, including wall reflections, reverberation, distance modeling, and the Doppler pitch effect. Panorama sounds amazing when heard on headphones. Anyone producing podcasts or music specifically intended for mobile devices should definitely check out Panorama. Panorama also includes a crosstalk canceller to format the output for playback over conventional stereo loudspeakers. In this mode, Panorama can make sounds appear to come from outside the normal stereo soundstage.
Tech Specs:
- Position and move sound in three dimensions
- Cartesian or polar coordinates
- Uses Head-Related Transfer Functions (HRTFs) to reproduce binaural sound localization cues
- Integrated reverberation and distance cues
- Separate sections for early reflection modeling and late reverberation
- Control dimensions and surface material of all six surfaces of the room
- Early reflections are spatialized using HRTFs
- Doppler pitch effect
- Processing for playback over loudspeakers or headphones
- Crosstalk canceling based on real head models
- Ships with 10 human and 1 dummy-head HRTF set
- Can load user-provided HRTFs
- Full automation support for creating moving sounds
- Up to 192 kHz sampling rate
- Mono or stereo inputs (always stereo outputs)
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