Simple tool that lets you control the width and the panorama of a stereo audio signal.
Advanced mix monitoring tool. It divides the frequency range into 5 bands.
Gain control which enables level matched and sample accurate AB comparison of FX chains.
Audio effect plugin designed to spatially-enhance mono sounds and create the stereo, surround, and depth effects.
Free Stereo-widening effect plugin that can be used to add stereo width to audio tracks and samples. Classic technique.
Track phase alignment audio plugin. Allows you to time- and phase-align any sound material to achieve better sonic coherence and clarity in the mix. Includes multi-band correlation meter.
Bass management system plugin for surround sound professionals. Designed for evaluation of low-frequency content present in non-LFE channels during mastering.
Latency Delay is a free auxiliary audio plugin which allows you to compensate latency produced by any audio plugins which produce latency but do not try to report it to the host.
Free auxiliary multi-channel signal delaying plugin with precise millisecond and sample delay specification. Independent mid and side channels delaying is possible.
Golem takes in a stereo track, typically two mics on a guitar cab (a popular technique among metalheads), and mixes them to mono in the middle of the track.
It lets you balance the respective inputs so you hear more of L or R, and most importantly, Golem lets you apply a delay to only the side that you want to delay. The other side is always no-latency, straight through, but the one you’re delaying gets its little sample delay. Either one, it automatically switches.
This is exactly the same as EveryTrim, only it’s 1.5 dB plus and minus. It’s more a mastering tool: make tiny little tweaks to get the master just right.
Left/Right, Mid/Side, and Master in one plugin.
Like a highpass on the side channel, except it’s a lowpass.
Mid/side conversion utility plugins.
A highpass filter on just the side channel, and one that would go up the full range from subs to highs, so at full crank it’d be purely mono.
Sound design or reverb far-away-izer.
Distance is specifically set up to mimic through-air high frequency attenuation.
Phase rotator/allpass filter.
In radio, there was the need for a phase rotator, to make waveforms more symmetrical for loudness maximizing. In reverbs, you get a thing called an allpass filter (a kind of feedback delay at a specific calibration) which diffuses the sound so it can be fed to delay banks and seem more spatial. Turns out these are the same basic thing! It’s also in phase shifters (mixing the phase-shifted part against dry, or inverse dry).
What happens? When you use an allpass filter, what you get is all the frequencies exactly as loud as they were before, but the phases of the frequencies are all different. Specifically, lows get delayed relative to the highs producing an effect where tones are ‘smeared’ across a time stretch, even though the spectral contents are exactly the same. The frequency information’s unaltered (nothing’s out of tune or darkened/brightened) but there’s a blur, possibly a large blur. PhaseNudge is set up to produce delays from really short (normal for a phase rotator) to unusually long, in case you’d like to treat it as a kind of slapback/echo effect.
Monitor through these plugs to hear only the highs, or only the subsonics, and adjust your mix accordingly. Also works as special effects.