Softube Saturation Knob Aax Plug-ins Cracked ##BEST##

The Saturation Knob by Softube adds harmonic distortion and saturation. You can either place it on separate audio tracks to saturate individual instruments or you can place it on your master fader and apply a light amount of saturation to your entire mix. There are three characters to the distortion: Keep High, Neutral and Keep Low and you would be surprised at how much versatility there can be within that one big knob! Softube Saturation Knob FREE DOWNLOAD

In between that feature and the simple mix knob, you have a whole bunch of options for how, and to what degree, you process your sounds. The latest update, Saturn 2, saw the interface get a welcome refresh and improved modulation visualisation, new subtle saturation and linear phase processing for mastering, and a range of additional distortion types in the processing Style menu. Recommended!

Softube Saturation Knob Aax Plug-ins Cracked

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The VSM-3 features two independent (virtual) saturation circuits, identified on the faceplate as 2nd Harmonic FET Crusher and 3rd Harmonic Zener Blender, referring to the different characters of distortion created by each circuit. The Crusher side can be considered more of a smooth, rich saturation, while the Blender side contributes more of a brighter, exciter-like vibe. You can blend any combination of the two with the central THD Mixer knob, as well as align them serially or in parallel, and each with its own stereo or M/S setting, for a huge range of spatially-enhancing saturation effects.

Clipping can be complicated, but luckily, Joey Sturgis has made it easy with a straight-forward single knob design. These processors are meant to be used after the dynamics section to achieve a few extra decibels of gain as well as to add a pleasing color and saturation.

Focusing Equalizer gets the award for most innovative plug-in of the entire suite, and is one of those "why haven't I seen this before?" kind of things. The three EQ bands, which can be made either "Passive" or "Active," have no frequency selections; instead, their corner frequencies are determined by the sliders for the low and high-pass filter frequencies (cleverly mimicking an old '70s radio tuner interface). Once the extremes are set, you can boost highs and lows, and boost or cut mids, without knowing the precise frequencies of those bands. In practice, this means you are really using your ears to analyze the tonal makeup of a given instrument, and to figure out where to augment it, in a way that even an analog EQ doesn't often allow. There is also a single Saturation knob (borrowed from FET Compressor's processing) with three different tonal curves, which is the best-sounding one-knob saturation emulator this particular reviewer has yet stumbled upon. Snare drums, bass guitars, vocals - everything sounded better with a little of this saturation applied, with or without the EQ engaged. I now have a new first-reach tool to counteract anything boring-sounding.

Left to mention are the time-based effects - a delay and two (and a half) reverbs. Tube Delay is very much a colored, non-utility delay plug-in. You can drive the wet and dry signals separately for a pretty convincing tubey-sounding overdrive, and you have your standard Mix, Feedback, and Delay Time controls. There are also simple Treble and Bass tone knobs. Out of all of the plug-ins in the suite, I found this the least utilitarian. That isn't to say that I don't like the sound of it; I do. It's warm and fuzzy and gritty, in a particular way that won't be useful on every mix. But having different flavors and colors is essential, so I'm glad I have another one. I do wish it had an output-level knob, though, since the delay circuit attenuates the signal substantially, and the Drive knob only increases distortion, not volume. be457b7860