Welcome to the Audio Pirates library of goodies
Here you will find a whole archive of links to Audio Production Software, VST, DX, RTAS & AU instruments & Effects, as well as links to other useful software.
You will also find audio links here too, including breaks & samples, a capellas, DJ/radio mixes, albums, compilations and cool music videos.


Everything on here is from links I've found on the web, i haven't uploaded any of this stuff myself.
I have tested and do use some of this stuff but not all of it, its a good idea to scan anything you download before using it just to be safe :)
The stuff here is intended as 'try before you buy', if you like this stuff please buy it, if not... delete.

Independent Music Network

Independent Music Network
Http:// ---- Http://

Wednesday, 2 January 2008

Stillwell Audio Plugins Bundle VST v1.04 - ArCADE

Stillwell Audio Plugins Bundle VST v1.04 - ArCADE

VST PlugIns Including: Vibe-EQ, Sculpto, 1973, Bad Buss Mojo, Event Horizon Plus, Transient Monster, Major Tom, Verbiage, Psychodither, Schope, and Spectro.

This is one of those mythical plugins that makes things sound better just by
plugging it in. Really. Unlike 1973, which is a very pristine EQ plugin (but a
VERY good EQ, all the same), Vibe-EQ is all about color. The more boost or cut
you dial in, the more color and funk you get. This may not be your go-to EQ
every time, but youll wind up using it more often than youd expect.

Draw Bezier curves over your audio waveform to create envelope shapes to
follow or clip to. Clean errors, sharpen transients, or design entirely new
sounds. All in real time, with amazingly low CPU use.

The Neve 1073 is probably one of the best large-format console channel
modules ever made. Punchy, detailedit was almost impossible to make it sound
badfor its time. Lets not debate about large chunks of iron and wax/paper
versus electrolytic capslets talk about the sheer genius involved in picking
the proper EQ frequencies, bandwidths, and slopes. THIS is where 1973 is
coming fromnot an emulation, but a tribute. Taking the best features and
reducing them down to their essencethen making it utterly transparent and
smooth. Dial in some high end. No, more than thatcmon, more. What? Are you
afraid of that knob or somethingGIVE IT A TWIST, I SAID! Magic. THATs what
separates the men from the boys in EQs like thisthe ability to drop in
staggering amounts of smooth, detailed HF boost without shredding eardrums.

Bad Buss Mojo
How to describe this? Well, I guess well just settle for this: sometimes
digital is just TOO perfect. Im not going to say sterile or lacking soul,
because Id wind up eating my words sooner or laterbut sometimes you just
want a little grita little dirta little imperfection. Thats 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 inPSU 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. Itll go
from I cant hear that youve 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 Limiterhuh? Well, maybe a better description
is that its 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
unsurped natural sound. Its output is what comes into itonly 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 tryits 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 Tomcan
you tell? Major Tom is intended to be easy to use: there are no attack and
release controlsthe 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 youve heard it on records time and time again. Musicality: Thats the
second key. Major Tom WILL pump, but it should do so in a musical, rhythmic
manner. Put it on vocals gently for smoothingnice. Put it on b, but dont
go overboardbuttah. Put it on drums and go berserkSMACKIN. If you pull lots
of gain reduction, its 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 knowI really dont have to. Put it
on your drum buss. Turn the knobsyou WILL understand, and you will thank me
later. Okay, okayhave you ever had a drum performance that was REALLY laying
down the groove, but the recorded drum sound just didnt 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 didnt really have to explain it
to you.

Before convolution reverbs, there were Lexicon, Yamaha, Eventidehmm. Seems
like all the REALLY good reverbs were around way before everybody got the
convolution bug. This isnt a convolution reverbits an algorithmic reverb
put together the old-fashioned wayfrom your basic ones and zeroes. Its
extremely controllable (try changing the room size and damping of your average
reverb impulsedoesnt 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-p filters, gatingits all there. This is NOT the reverb you would use
to emulate a physical space (thats what convolution reverbs excel at), but
this is a true gem for sweetening tracks with reverbadding that special
shimmer to tracks that you cant really get any other way.

Gods 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.

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 youre flattening peaks. Scope kick drum and b
together for EQ scooping. Scope DI and amped guitar signals together to fix
phase problems. Pan, zoom, scrub, save, load, goniomete, and zambulize.

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!

More Info:HERE
Size: 9.99MB

1 comment:

Anonymous said...

Snif snif, the link is dead