اخر اصدارت لسنه الجديد 2010 nouveau vst 2010

هذه اخر اصدارت لسنه الجديد 2010


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Expert Sleepers Little Spacey VST 1.0.2





Expert Sleepers Little Spacey VST 1.0.2 | 8.99 MB


Little Spacey is delay effect, inspired by classic analogue ‘bucket brigade’ delays but with refinements only possible in the digital arena - not to mention a maximum delay time that would cost a small fortune to realise in hardware. Great care has been taken to give Little Spacey the smooth, creamy sound which makes analogue delays still popular today.

In common with the best analogue delays Little Spacey allows you to modulate the delay time for chorus or vibrato effects. Unlike most analogue delays, Little Spacey is not restricted to mono operation, and works well in stereo or multi-channel (AU only) settings, offering variation of the effect between the channels for particularly rich and involving sounds.



Expert.Sleepers.Little.Spacey.VST.v1.0.2-ASSiGN

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Direct Approach LimitX VST 3.1




Direct Approach LimitX VST 3.1 | 7.74 MB




LimitX VST Limiter Pluginfor Windows 32 bit only Mixing and Mastering Tools by Bill Wall. Transparent limiting. Zero Latency! Low CPU usage. Always 64 bit internal precision.


Works great in Pro Tools using the fxpansion VST-to-RTAS Adapter!
Totally Transparent Mastering quality limiter.
Prevents digital "overs", or clipping! Gives you 6.0db additional range!
Completely automatic operation.
No latency, and very light CPU load.

“Digital recording and mixing isn’t “like” math…it is math!”

Digital recording and mixing is math.
24 bit has 144db dynamic range (24 x 6 = 144) (6db = 1 bit)
16 bit has 96db dynamic range (16 x 6 = 96)

In digital recording, 0db is not a theoretical limit, it is an absolute limit!

Case in point----So you feel pretty good about recording at 24 bits because that gives you enough dynamic range to keep your peak levels at -6db, a good practice. Maybe.

For example, what if you have two simultaneous -6db peaks? Two -6db peaks combine to equal 0db! Now, what if you get three -6db peaks? They combine to +3.5db! But, digital has no +3.5db. In digital, you can’t have a signal above 0db. So, when the system outputs those three combined -6db peaks, it chops them off at 0db, whether you like it or not. And it sounds terrible!

Sure, internally, within your software, whether it is your host DAW software, or a VST plugin, the signal can exceed 0db. But, when it is all output to something, it must not exceed 0db! 0db is absolute.

And to prove it really is math---In your computer, -6db is generally stored as a floating point value of 0.5, with 1.0 being 0db. So, add two -6db, or 0.5, signal peaks together; 0.5 + 0.5 = 1.0 or 0db. Add three -6db peak signals together; 0.5 + 0.5 + 0.5 = 1.5, which is +3.5db, which you can’t have as part of your final data signal. Anything above a value of 1.0 is not allowed.

Worse yet, anything that chops off your signal also destroys frequency information! What encodes the frequency information in a digital signal is the difference between one sample, and the samples on either side of it. If the signal is chopped off, flattened out, then there is no difference, and the frequency information is lost, mostly the high frequencies. So, if you are compressing and limiting and your recording sounds dull, this could explain why.

Actually, it is even worse when you consider DA conversion on analog playback, because it is possible to have all your digital signals at 0db or less, and yet produce an analog signal above 0db. Some DA converters can cope with this, many can’t---resulting in bad sound.

Now, in the old days, when we recorded to analog magnetic tape, we had a built-in “fudge factor”. First of all, 0db had a different meaning. 0db was calibrated to be the target “sweet spot” on the VU meters for your signal, both for properly recording a good signal, and to preserve the noise floor. You generally could go at least several db above 0db, both because the VU was calibrated that way, and also because magnetic tape can be over-saturated with more signal than usual. And, while this produces distortion, it is forgiving in the sense that the signal gradually gets worse,…not an abrupt trashing of the sound as in digital.

Yet, magnetic tape has only 55db dynamic range! Roughly equal to only 9 bits! (9 x 6 = 54)

Well, with modern gear, concerns about noise floor are virtually nonexistent. And, even at 16bits we have 96db dynamic range. And with 24bits giving 144db dynamic range, we can record everything below -6db and still have 138db dynamic range.

This is where LimitX comes in. LimitX was originally developed as a means to achieve some of the forgiving over-saturation of magnetic tape in the digital realm. I wanted to be able to push a little more signal and not have the digital signal abruptly clip.

What often happens is you are trying to keep everything under control by recording with maximum -6db peaks, when, during mixing, signals combine unexpectedly to exceed 0db! In other words, your mix is fine except that a few peaks are going over 0db, and consequently getting chopped off.

Non-Linear Sample Remapping Technology

So, I developed a non-linear algorithm that “maps” peaks back into the upper digital range from -6db to 0db. It does this while preserving the frequency content, and without any pumping or noticeable artifacts. Others claim their limiters are transparent, but LimitX actually is transparent!

LimitX works so well, that I have been using it for years now. And I have been continually refining it to the point that this new enhanced version is now available.


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Direct Approach BoostX VST 2.1


Direct Approach BoostX VST 2.1 | 7.75 MB




[LEFT]BoostX is a completely transparent upward-compressor, also known as parallel compression, based on the Non-Linear Sample Remapping technology developed for LimitX. As a bonus, BoostX also provides limiting!. What is Upward Compression? While traditional (downward) compressors reduce the volume of levels over a certain threshold, Upward Compressors increase low levels while not increasing the high levels. The simplest way to think of it is that downward compressors push down on the signal from above. Upward compressors push the signal up from below, so the softer parts get louder without affecting the loud parts. To most people's ears, this sounds much more natural than downward compression.

BoostX Non-Linear Sample Remapping Technology

Building on the non-linear algorithm developed for LimitX, I was able to allow upward boost of 0db to 9.5db while keeping control of the top end. It does this while preserving the frequency content, and without any pumping or noticeable artifacts. Others claim their plugins are transparent, but BoostX actually is transparent!

Like LimitX, BoostX works so well, that I have been using it for some time now. And I have been continually refining it to the point that that this new enhanced version is now available.





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LiquidSonics Reverberate VST 1.250 x32

LiquidSonics Reverberate VST 1.250 x32 | 33.27 MB

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