SPL PLUGIN BUNDLE
SPL Attacker 1.1
SPL De-Verb 1.1
SPL Mo-Verb 1.1
+ As A Little Extra
SPL Free Ranger 1.1
Attacker
The Transient Designer’s attack enhancement
The Attacker MicroPlug employs the same processing technique like the original Transient Designer. SPL’s Differential Envelope Technology has revolutionized dynamic processing with a level-independent method.
This radically different approach …
… allows to forego the setting of a threshold. Other parameters are set automatically and in a musical manner as they follow the characteristics of the input signal. After all, only one control allows to reshape the attack characteristics of a sound.
Working with the Attacker is disarmingly simple: All attack events can be amplified – regardless of their signal level. However, the possibilities for studio and live applications are seemingly endless.
Usually equalizers are used to separate instruments in a mix. With EQs the tonal aspect of the signal is considered but not the temporal aspect. The Attacker now opens this new dimension in signal processing. By amplifying the attack curves of a sound event, the mix can be made to sound more transparent. Instruments can be mixed at lower levels while still maintaining their positions in the mix—but occupying less space.
The Attacker also offers an output control gain control that allows to compensate for level changes after processing the signal. This ensures a simple and safe adjustment of levels and helps avoiding internal clipping.
De-Verb
The Transient Designer’s sustain reduction
The De-Verb MicroPlug employs the same processing technique like the original Transient Designer. SPL’s Differential Envelope Technology has revolutionized dynamic processing with a level-independent method.
This radically different approach …
… allows to forego the setting of a threshold. Other parameters are set automatically and in a musical manner as they follow the characteristics of the input signal. After all, only one control allows to reshape the sustain characteristics of a sound.
Working with the De-Verb is disarmingly simple: All reverb events can be reduced – regardless of their signal level. However, the possibilities for studio and live applications are seemingly endless when reverb curves of any sound event can very simply be reduced to decrease ambience and reverb-tails.
The De-Verb also offers an output gain control that allows to compensate for level changes after processing the signal. This ensures a simple and safe adjustment of levels and helps avoiding internal clipping.
Mo-Verb
The Transient Designer’s sustain enhancement
The Mo-Verb MicroPlug employs the same processing technique like the original Transient Designer. SPL’s Differential Envelope Technology has revolutionized dynamic processing with a level-independent method.
This radically different approach …
… allows to forego the setting of a threshold. Other parameters are set automatically and in a musical manner as they follow the characteristics of the input signal. After all, only one control allows to reshape the sustain characteristics of a sound.
Working with the Mo-Verb is disarmingly simple: All reverb events can be amplified – regardless of their signal level. However, the possibilities for studio and live applications are seemingly endless when reverb curves of any sound event can very simply be enhanced to emphasize dry ambiences and reverb-tails.
The Mo-Verb also offers an output gain control that allows to compensate for level changes after processing the signal. This ensures a simple and safe adjustment of levels and helps avoiding internal clipping.
Free Ranger
Free Analog hide®
An EQ processing straightly reveals the sound quality of a software – probably better than any other processing tool. Therefore, the Free Ranger ideally demonstrates the amazing qualities of our Analog hide plug-ins.
Features
The Free Ranger is based upon the Full Ranger-EQ from our EQ Rangers series. It is limited to four – we think very useful – bands:
* 16?kHz center frequency – Boost: Glitter, brilliance, air.
* 1,8kHz center frequency – this is THE EQ test frequencies. An EQ that sounds good here is a good EQ. Therefore it makes a lot of sense to compare EQs in that range. Applications examples: Boost for more bass definition and presence, cut reduces metal for brass.
* 150 Hz center frequency – Boost: more warmth for everything, main impact of bass instruments, fuller, fatter snares. Cut for vocals: avoids collision with bass.
* 40 Hz center frequency – Boost: in general fuller sounds, deep bass punch (kick drum). Cut: reduces booming sounds and sub harmonic interferences
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