1. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems. Please Note: Softube plug-ins support 64-bit hosts only, and a 64-bit OS is required.
2. I've had the pleasure of using the Studio Collection suite in my mixes for a few months, and overall, I'm extremely pleased with them. There are twelve plug-ins in all, and they are a combination of branded and unbranded emulations of specific hardware alongside more general algorithmic effects.
3. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems. Please Note: Softube plug-ins support 64-bit hosts only, and a 64-bit OS is required. Therefore, for example, Pro Tools 10.x is no longer supported.
4. Developed by Softube, the Amp Room Bundle for UAD-2 hardware and Apollo interfaces offers an unrivaled collection of modern and vintage guitar and bass amplifier emulations. From old-school cool to savage metal, the Amp Room Bundle also sports powerful click-and-drag mic placements to expertly dial in your tones.

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Softube Studio Collection Plug-in Bundle Features: TSAR-1 Reverb - True Stereo Algorithmic Reverb Model 1 - Powerful, sophisticated, detailed, modern-style reverb TSAR-1R Reverb - The world-class TSAR reverb coupled with an easy, fast, intuitive interface.

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Complete Collection by Softube

Proven Sound Quality

How do you know you can trust the sound quality of a collection of plug-ins?

One way is to ask which top professionals have placed their faith in them already. So when you hear the likes of Deadmau5, BT, Axwell, and so many more are using plug-ins from Volume 3 on a regular basis, you can rest assured these tools are the real deal.

Featuring amps, instruments, effects, EQs, compressors, mastering tools – everything you need to make the best music you can make – Volume 3 is there for you with sound quality you can count on.

Upgrades

Instruments

Volume 3 features; Heartbeat, the renaissance of drum synthesis; Modular, the best-sounding Eurorack modular synth plug-in out there; and introduces Parallels, our dual-source dream-synth.

Signal Processing Tools

Partnerships with brands like Summit Audio, Drawmer, Weiss, and Trident, bring the best classic EQs, compressors, and mastering tools to Volume 3, and the addition of our very own Transient Shaper plug-in will tighten up every facet of your mix.

Effects

Whether it's our beautiful TSAR-1 true stereo algorithmic reverb, our roaring Tube Delay, or the new additions of Harmonics and the super-special OTO Biscuit 8-bit effects plug-in, Volume 3 has top-quality creative effects to take all your productions to new heights.

Amps

Our award-winning Amp Room plug-ins don't just cover classic bass and guitar tones from the highest-quality vintage gear available – they also offer creative ways to treat and revitalise synths, drums, even vocals. We give you quality, you get freedom!

What's new in Volume 3?

Since its last outing we've added significant value to our Volume collection.

The Transient Shaper, one of our most popular plug-ins, capable of adding outrageous punch or silky smooth sustain to your material, makes its first appearance.

Harmonics is also new – 5 astoundingly rich and textured flavors of analog-style distortion, with Dynamic Transient Control technology.

Then there's the OTO Biscuit 8-bit effects processor. Create chippy aliased madness, or simply add grit and grunt before sequencing a gorgeous analog filter, pitch shifting, or waveshaping.

And we're delighted to announce Parallels, our dual-source dream-synth, and its beautiful workflow, top-quality multi-waveforms, and delicious effects.

With our Volume 3 plug-in collection you can create epic drum machine and synth tracks, process and polish vocals and acoustic instruments, amp up electric guitars and basses, tie a mix together with premium-quality effects, and add a professional finish to any sound source.

Analog Sound from Analog Legends

Alongside Softube original plug-ins, and the Weiss digital mastering maximizer, Volume 3 contains officially licensed emulations of analog hardware from some of the biggest and most well-respected names in pro audio. A channel strip, compressor, EQ, saturation and all, from Summit Audio, multi-band dynamics from Drawmer, an entire suite of real-time modulation tools from Paul Wolff's Fix Audio Designs, and a classic equalizer from a rare and legendary Trident console. Even the filter in the OTO Biscuit is a warm and inviting analog masterpiece.

Equally importantly, our 15 years of experience modeling analog systems, and our attention to detail in oversampling and code-optimization, mean our plug-ins really do sound as good as their analog counterparts.

Use the very same gear as iconic artists and producers of the past and present.

NKS-Ready

Many of the Volume 3 plug-ins integrate seamlessly with Native Instrument's Native Kontrol Standard. Plug-in parameters and presets can be controlled from KOMPLETE KONTROL and MASCHINE.

Great sound, amazing workflow – then it's just up to you to make incredible music.

Weiss MM-1 Mastering Maximizer

Based on the legendary Weiss DS1-MK3, the centerpiece of mastering studios the world over (and also now available as a Softube plug-in), the future of fast and professional mix maximizing is now here - the MM-1 Mastering Maximizer.

Featuring the very same algorithms as the original digital hardware unit, the MM-1 offers five flavours of limiting; Transparent, Loud, Punch, Wide, and De-ess; intelligently progressing as the ‘amount’ knob turns, and blendable with the mix control, to give users precisely the right amount of power over the feel of their masters.

Crucial to this plug-in is that it can’t sound bad - the intelligent processes happening under the hood as the amount knob turns; the filtering, compression, de-essing, and so on; have been carefully designed by highly experienced mastering engineers using the industry standard DS1-MK3 as a foundation.

And there’s no better mastering limiter out there. This product allows users to get their mixes exactly as loud as they want, with exactly the sound they want, without sacrificing dynamics and musicality.

In Short

• Simple interface controlling detailed expert mastering processes.
• Five ‘flavours’ of limiting available.
• Contains the very same technology as the legendary hardware mastering processor, the Weiss MM-1.
• Fully licensed and endorsed by Daniel Weiss himself.
• Great for maximizing your mix-bus quickly and effectively.
• Go as loud as you want; louder than any other product out there; without sacrificing desirable tone and dynamics.
• Impossible to get it wrong. Be the master of your own masters!

Learn more about Weiss MM-1 Mastering Maximizer.

Tape

Time to get reel! Softube's Tape plug-in adds cohesion and weight to your mixes. But Tape goes far beyond your average tape machine emulation. It includes three distinctly different tape machine types, and it offers the ease of use and low CPU strain that today's music creators rightfully expect.

Even in this day and age, it's common practice for computer-based professional studios to run their mixes through at least one generation of analog tape. Why? Because even when used subtly, analog tape has a smoothing effect and adds cohesion and weight to a mix—it takes the recording from a collection of individual tracks into a song where everything is connected and works together. With Softube's Tape plug-in, you can have all that and more.

In Short

• Realistic analog tape sound
• Three tape machine types included
• Easy to use
• Low CPU usage
• Includes Tape Multitrack which can be used in the MixFX slot of Presonus Studio One—adding individual channel crosstalk and single interface control of all tracks

Learn more about Tape.

Fix Phaser

No single phaser could please Paul Wolff. He wanted them all in one. All the stages, the sweeps, the tones. From the mind of Paul Wolff, here is the Fix Phaser.

Have you ever worried that your guitar just doesn't sound enough like a spaceship? We know we have. Coming from the ever-fertile mind of audio legend Paul Wolff, Fix Phaser perfectly covers this concern and many others too. Create subtle movement and texture in a string section or synth pad, wash a drum kit in stratospheric swirling attitude, create a throbbing, oscillating vibrato in a vocal, or simply swoosh and whoosh things to your heart's content.

In short

• Lush vintage phasing sound in a modern plugin package
• Wide and versatile feature set
• Mix knob allows blending of wet and dry signals to taste
• Create stereo soundscapes out of mono sources
• Generate subtle movement in flat or dull-sounding instruments
• Out-of-this-world whooshing effects

Learn more about Fix Phaser.

Modular

Created in close collaboration with Doepfer, Softube Modular gives you both the sound, flexibility and expandability of a true analog modular synthesizer. But Softube Modular is more than just another virtual synthesizer plug-in - it's an entirely new modular synth standard.

Infinitely Expandable

As a Modular owner, the basic system gives you a great toolkit to start out with. It includes six modeled Doepfer modules and over 20 utility modules. But there is much more to discover. Additional modules from quality Eurorack vendors - starting with a range of units from cutting-edge manufacturer Intellijel - are available for separate purchase. More modules will continuously be made available. Owners of Softube's drum synth Heartbeat can add its instrument and EQ modules to Modular and combine them with any other modules. Softube's award-winning engineering team have modeled each analog module, component by component, and the resulting plug-ins are sonically indistinguishable from their hardware counterparts.

Welcome Experts & Beginners

Experienced Eurorack synth users will be right at home from the start. Modular's workflow is very close to the use of physical Eurorack modular synths. Add modules, connect them using virtual patch cords, adjust their knobs and switches to your heart's desire. Get MIDI connectivity with the MIDI To CV/Gate Converter and add any of the included step sequencers - unless you prefer using your DAW's built-in sequencer, of course.

To beginners, a modular synthesizer can be daunting at first. But Modular offers a wide range of expertly designed presets, immediately available to be put to use in your music. When you are ready to learn more about patching a Eurorack synth, the manual offers step by step patching tutorials that go hand in hand with the included tutorial presets.

Both experts and beginners will enjoy the included Performance modules. These give the user a limited set of knobs and buttons that can be freely assigned to control any parameter on any module in the current patch - making creative tweaking on the fly super easy and accessible for inspired studio production and live performances.

In Short

• Modular is a cross-platform modular synthesizer plug-in standard, which features authorized emulations of modules from well known hardware Eurorack brands
• True dynamic circuit-emulation—looks, functions and sounds like its hardware counterparts
• Basic system contains six Doepfer modules (A-110-1 VCO, A-108 VCF, A-132-3 Dual VCA, A-140 ADSR, A-118 Noise/Random, A-147 VCLFO)
• Basic system also contains over 20 Utility modules (such as MIDI to CV/gate, mixers, slew, sample & hold, switches, multiples, delay, offset, sequencers, clock dividers, logic and signal tools, as well as a Polyphonic MIDI to CV/gate module).
• Additional authorized emulations from Intellijel is available as add-ons (uFold II, Korgasmatron II, Rubicon). Many more modules from other quality hardware Eurorack vendors to be released

Learn more about Modular.

Drawmer S73 Intelligent Master Processor

For the mastering engineer, a multi-band compressor is a powerful tool. But as Spiderman's uncle Ben famously says: with great power comes great responsibility. A multi-band compressor that is not used diligently may create more problems than it solves. This is why Softube created Drawmer S73 Intelligent Master Processor (IMP).

Multiband Compression For Your Mix

Drawmer S73 features an enhanced multi-band compressor sound design, fine-tuned to improve your mix with a minimum of tweaking. The S73 does most of the job for you by making the choices a mastering engineer would make. Simply use the Style parameter to switch between ready made mastering processing techniques to quickly find the sound that suits your mix the best.

Clarity and Definition

Under the hood, the S73 is based on technology created by Drawmer for the 1973 Three Band FET Stereo Compressor. This is an award winning multi-band analog compressor design famous for its precision and flexibility. Softube has carefully modeled all the characteristics of the original analog hardware, and have taken the concept a step further by adding mastering sound design to create the Drawmer S73 IMP. The unit offers the perfect way to balance and shape your mix, and get great analog sound in no time.

In Short

• Built-in mastering processing techniques
• Lifts your mixes to the next level
• Great Drawmer compressor analog sound
• Parallel compression

Learn more about Drawmer S73 Intelligent Master Processor.

Summit Audio Grand Channel

Combining the smooth operating EQF-100 parametric passive equalizer with the mild but authoritative TLA-100A compressor, Summit Audio Grand Channel is a highly versatile channel strip that will cover a large part of your mixing needs.

The Grand Channel combines the warm and smooth tone sculpting Summit Audio EQF-100 Full Range Equalizer with the rich sounding and dead-easy-to-use Summit Audio TLA-100A Compressor. Having the two combined in a single plug-in makes adjustments easier, as you will often find that the compressor affects the equalizer and vice versa. By default, the sound reaches the equalizer before the compressor, but you can easily reverse the order with a single switch.

When the EQF-100 and TLA-100A were designed, Summit Audio made sure to combine the finest of what vintage tube designs had to offer with a modern sense of how these units should stand the test of time. The result was remarkable, and today you can experience the Summit Audio grandeur in digital form, just reach for the Grand Channel! As a modern addition to the classic TLA-100A, the plug-in also includes Parallel Compression, Saturation Control and Low Cut Filtering on input or detector.

In Short

• Flexible and easy to use with huge sonic range
• Individual bypass for each of the two units saves CPU power
• Change the order of the equalizer and compressor with a single switch
• Each and every component carefully modeled
• Extremely analog behavior of frequencies, phase, distortion, attack, release, etc

Learn more about Summit Audio Grand Channel.

Summit Audio EQF-100 Full Range Equalizer

The Summit Audio EQF-100 Full Range Passive Tube Equalizer really sets the standard for all passive equalizer designs. It is a highly versatile and sweet sounding equalizer that will solve most of the tonality issues you may experience in a mix. The EQF-100 is equally suitable for separate tracks as across subgroups or the entire stereo buss.

Flexibility and smoothness are the key features of this tube driven passive equalizer. Here's finally an equalizer you can use in your DAW to boost frequencies and not limit yourself to cutting. Four fully parametric bands of equalization plus low and high cut filters with three selectable cutoff frequencies each make the EQF-100 a go-to equalizer for any sound or instrument in your mix. A mix that no doubt will sound warmer and fatter with the help of the EQF-100 and its unique blend of tube and solid state technology. If you want more edge from your EQ, just drive the output meter into the red and you'll experience a woody and thick saturation coming from the output stage.

In Short

• Smooth sound and flexible operation
• Modelled output stage distortion
• Four fully parametric bands of equalisation with fixed frequency bands
• High and low filters can be switched from bell to shelf
• Three-position low and high cut filters
• Each and every component carefully modelled

Learn more about Summit Audio EQF-100 Full Range Equalizer.

Summit Audio TLA-100A Compressor

This classic compressor is all about gentle and natural sounding gain reduction. It effortlessly keeps your material's dynamics controlled without ever strangling the sound. Everything you put into the TLA-100A comes out the other end big and compact sounding.

The Summit Audio TLA-100A works in a program dependent manner, meaning it does a lot of the thinking for you. It's tremendously easy to use and basically impossible to make it sound bad. It will however give you some soft and warm distortion if you drive it really hard. For ease of use, Softubes TLA-100A plug-in has a Saturation knob that the original unit lacks. This lets you blend in just the right amount of distortion to your signal.

The TLA-100A shows the same basic behavior on any type of material. Its transparency and strong but gentle grab of the sound source makes it a popular choice for placing vocals and bass just where they need to be in the mix. The TLA-100A is also well suited for tasks like softening a spiky acoustic guitar that demands too much attention, or providing some 'glue' on a drum buss or a full mix.

In Short

• Controls your audio dynamics with mild authority
• Easy to use
• Built-in parallel compression and detector filtering (Low Cut filter switchable to signal input)
• Each and every component carefully modeled
• Modeled output distortion, easily controlled with the Saturation knob
• Extremely analog behavior of frequencies, phase, distortion, attack, release, etc
• Softube makes the only Summit Audio plug-ins

Learn more about Summit Audio TLA-100A Compressor.

TSAR-1 Reverb

The TSAR-1 Reverb is not an emulation. It's not a stock design. It's not a static snapshot of a space. The TSAR-1 is a powerful, modern reverb algorithm. It's alive and vibrant, it's gentle and dreamy, and above all - it's natural and believable. The TSAR-1 is the better-sounding alternative to the established, traditional reverb products. At a fraction of the price.

The True Stereo Algorithm inside the TSAR-1 is what gives it its magic. The strength lies in its sophisticated sound and versatility, no matter whether it's used on strings and brass or rock drums and lead vocals, it always shines. All this while still having a comprehensive and easy-to-use interface that is unparallelled in other high-end reverb products.

The TSAR-1 has been designed with ease of use in mind. Instead of a myriad of controls, we gave the user interface five sliders and a couple of switched options. But you may very well find you never need to use even these simple controls. Because we included a solid bank of presets, which will cover most of your needs. The presets are clearly named for their intended use, so find a setting you like, maybe tweak a little - and you're good to go.

In Short

• True Stereo Algorithm
• Extraordinary versatility
• Comprehensive user interface
• Modern and powerful high-end reverb
• Extensive preset library:
• Predelay Use it as a rhythmic effect or to carefully match the tail with the early reflections
• Time Longer or shorter reverb tail. Where do you want to go today?
• Density Smooth, modern and dense, or sparse, lush and vintage

Learn more about TSAR-1 Reverb.

TSAR-1R Reverb

TSAR-1R Reverb is the little sibling of the more adjustable TSAR-1 Reverb. They share exactly the same high end reverb algorithm, but TSAR-1R offers extreme ease of use for a fast and intuitive workflow.

Essentially, TSAR-1R is operated with a single control - the Time slider. Add depth and dimension to any sound with short and controlled room sounds, or slide it up towards hall settings for large, dramatic spaces. It really is as easy as that, and it always sounds stellar.

The True Stereo Algorithm inside the TSAR-1R Reverb and the more adjustable TSAR-1 Reverb is what gives them their magic. The strength lies in the sophisticated sound and versatility, no matter whether they are used on strings and brass or rock drums and lead vocals, they always shine. All this while still having a comprehensive and easy-to-use interface that is unparallelled in other high-end reverb products.

In Short

• Predelay - Perfect for getting that small gap between the vocals and the reverb tail
• Time - One fader to rule them all. The Time control changes the Density, Diffusion, Early Reflections, Reverb Time, etc. Almost like a continous swipe through all the best presets.
• Color - Need a bright or a dark reverb?
• True Stereo Algorithm - Same as in TSAR-1 Reverb
• Extremely easy to use
• Modern and powerful high-end Reverb

Fast and easy, yet powerful. Apart from Mix and Volume, there's only three parameters in TSAR-1R. Don't let that fool you though, it has never before been this easy to dial in a great reverb sound.

Learn more about TSAR-1R Reverb.

FET Compressor

The FET Compressor is an impressively faithful modeling of one of the most iconic compressors of all time. FET Compressor is loved for its aggressiveness and its tendency to add some tasty distortion to the sound source when driven hard. This compressor loves to be slammed and abused. But few things are so good they can't be improved, so we added a couple of nice features that makes it even more flexible than the hardware original.

In general, the FET Compressor can be used for deeper gain reduction than you would normally use with any compressor. The reason is that even at extreme settings, the FET Compressor shows no trace of the pinched sound many other compressors make when you push them hard. This ability for strict gain control is not least useful on lead vocal tracks that need to be kept in the listener's face. The distortion also adds a nice grit to the voice, highly useable in rock mixes but in no way limited to that.

Another common use for the FET is in drum mixing, where many engineers use it on room microphones, overheads or across the entire drum buss. Used this way, the FET Compressor has a way of bringing out a large, explosive sound in the Led Zeppelin vein. This is also an application where parallel compression is a useful technique, so we added the Parallel Inject control to facilitate this. To reduce kick drum pumping or let the bass guitar's low end bloom, use the side chain filter.

But there are still many more uses for the FET. Bass, acoustic guitars, pianos - bring out some edge or use the compressor's fastest attack setting to round off any transients.

In Short

• Sweet input and output stage distortion.
• Super fast attack time (just like the original)
• Lookahead (in case you don't find the original's attack time fast enough)
• Modeled 'All buttons in' mode
• Continuous ratio (even between 20:1 and ALL) - but if you want the fixed ratios of the original, just click the ratio labels around the knob.
• Parallel compression.
• Detector low and high cut filters
• External side chain
• Stereo with synchronized gain reduction
• Very CPU friendly
• Meticiously modeled analog compressor. Each single stage of the analog unit has been modeled separately to achieve the exact sound and behavior of the original analog unit

Learn more about FET Compressor.

Trident A-Range

The Trident A-Range equalizer is a legendary piece of equipment. As only thirteen A-Range consoles were ever made, it remains a holy grail for sound engineers and producers around the world that hope to create works of art equal to those that were originally recorded on the A-Range - David Bowie's Ziggy Stardust, Queen, Elton John, the list goes on...

It is sometimes said that one of the disadvantages of digital mixing and recording is that the happy accidents one could experience with analog gear just don't happen in the DAW. People saying that clearly haven't tried Softube's Trident A-Range equalizer.

Because the Trident A-Range is not only a tremendously nice sounding and highly characteristic equalizer. Its four frequency bands also have a way of integrating in sometimes rather unpredictable ways. More often than not you will find that the equalizer ends up giving you something even better than you may have expected when you made a certain setting. In this sense, the Trident A-Range is more of a musical instrument than a strictly scientific tool. We think this is one of the major reasons it has been used on so many great classic rock albums and why it's still one of the most coveted pieces of audio equipment around.

Only thirteen A-Range consoles were ever built, and the Softube plug-in version is a very exact model of channel 15 of the Trident A-Range at Sweet Silence Studio 'B' in Denmark. This is producer Flemming Rasmussen's favorite channel for recording lead vocals. Flemming also used it for the solo and rhythm guitars on Metallica's 'Ride The Lightning' and 'Master of Puppets', as well as Ritchie Blackmore's guitar on the Rainbow albums 'Difficult to Cure' and 'Bent out of Shape'.

In Short

• EQ with a will of its own
• Created together with original designer Professor Malcolm Toft
• Each and every component carefully modeled
• Saturation control
• Very CPU friendly

Learn more about Trident A-Range.

Vintage Amp Room

Straightforward and simple, Vintage Amp Room emulates three great and classic guitar amps in a complete studio set-up with speaker cabinets and fully flexible microphone positioning. It's easy to use for live performances and recordings, as well as for re-amping and last-minute tweaking.

The three guitar amplifiers we simulated in Vintage Amp Room are timeless classics that have deserved their place in the history of guitar based music. So instead of simulating tons of amps, we set out to get these three done right instead.

The amps are simulated in a true studio environment with fully flexible click-and-drag microphone positioning. So not only did we simulate the sound of guitar amps in a nice studio, we simulated the entire workflow.

Vintage Amp Room has none of the added gadgets or weird-sounding presets sometimes found in amp simulation software. It provides you with the ultimate tool to create your own guitar sound. Because after all, only you know exactly what sound you want.

White

Based on an all-round great amp that set the industry standard for classic, distorted rock n' roll sounds. The genius is its simplicity. It's stripped down to the bare essentials - all tubes, only one channel, and no reverb or any other built-in effects. Sound-wise, it goes from mad screaming preamp shred, to warm, speakers-about-to-break power amp distortion. Perfect when you need a characteristically distorted edge and a powerful roar.

Brown

One of the most versatile amplifiers in music history. It's been used in all kinds of genres, and for all kinds of instruments, thanks to a sound that is clean, crisp and clear, but also warm, thick and punchy. Brown can produce anything from the clearest country-style sound for steel guitars to a dirty, bluesy guitar noise. It works for both funky rhythms and bassy, mellow chords. It's got a notoriously warm sound with a massive bass and a shimmering treble. Versatility embodied, it can do more or less whatever you want it to.

Green

Packed with character and produces a pleasant guitar sound with warm yet intense power amp distortion. Its edginess makes it shine through in mixes, without drowning out other instruments.
Green is based on a very adaptable three-channel amp model. All three channels sound fantastic, but if you want to add a little quirkiness, we especially recommend the vibrato/tremolo one. The original amp has been widely used during the last forty years, from classic pop recordings in the 60's, through to today's users, playing mostly independent and alternative rock.

In Short

• Three great-sounding vintage amp models
• Raw & authentic sound
• Real studio workflow
• Flexible & continuous click-and-drag mic positioning
• Fully automatable parameters
• 3-D rendered photo-realistic user interface
• Compatible with all effects that work with real amps

Learn more about Vintage Amp Room.

Softube Plugins Collection Download

Bass Amp Room

Bass Amp Room was designed to handle all your bass amp needs, from dirty rock to modern clean. It consists of a model of a bass amplifier, three distinctive speaker cabinets with click-and-drag mics, and a blendable DI section with tone controls and a limiter.

Bass Amp Room has got everything you need to create a unique signature sound in no time. It's well thought out, and the high quality building blocks will help you produce a huge range of sounds. The Bass Amp Room is all about getting a sound you know you can trust, and getting it quickly.

Although it was originally designed as a guitar amp, the 70's amp that has been modeled has proven to be an excellent choice for bass players. A thick and solid preamp distortion without any fizziness lets you crank it up without losing the low end. The power amp has a more traditional power amp distortion (controlled by the Master Volume knob), which at extreme settings will give you all the dirt you can handle. The High/Low switch wasn't a part of the original amp, but was added to give you a cleaner and fatter sound when necessary.

There are three different cabinets in Bass Amp Room. The 8 x 10' is an industry standard for fat and solid bass tones with lots of low end and lots of definition. The 4 x 12' may be a good choice for rock sounds with its focused and hard sound. And lastly, while an open back 1 x 12' may not be the first cabinet choice that springs to mind for bass, this is something that works extremely well in the studio.

Many engineers like to blend in some DI signal from the bass in the mix, and to facilitate this we have added a DI section that does precisely that, and more - we also put in three tone controls and a limiter.

In Short

• Authentic amp and cabinet modeling
• One amplifier and three versatile and good-sounding cabinets
• Flexible and continuous click-and-drag mic positioning
• Slider control to blend in the DI sound from within the plug-in
• Tone control, Low and High cut filters plus limiter in the DI section

Learn more about Bass Amp Room.

Fix Flanger and Doubler

From the mind of legendary audio equipment designer Paul Wolff comes the new Fix Flanger and Fix Doubler. They take the legacy and sound of classic flanging and vocal doubling of the 1960s, but with all the benefits of the digital world.

In 1979, Paul Wolff formalized a vision which was turned into an exclusive limited edition hardware, that became loved among musicians and sound engineers. In 2015, the Fix Flanger and Doubler is the reincarnation of this vision - a plug-in package that handles hands-on flanging with unique stereo widening methods, as well as vocal doubling with lush chorus and rich textures.

Classic Flanging Reimagined

The Fix Flanger is versatility personified—this flanger is capable of both classic guitar pedal style flanging with a automatically swept flange as well as direct interaction in the manual mode. A VSO mode features unprecedented hands-on control with emulated servo motor bounce and true cross zero flanging, just like a tape machine. Added features such as tap tempo sweep, unique stereo widening methods and selectable delay polarity makes the Fix Flanger the swiss army knife of flangers.

Doubling Made Simple

The Fix Doubler delivers texture and extraordinary richness to vocals and polyphonic instruments. The algorithms of the Fix Flanger, combined with a streamlined interface and Paul Wolff's unique Auto Double algorithm, makes it easier than ever to get lush chorus and rich layers to your vocal track. With Auto Double, you can get smooth doubling without flanging at delays as low as 3 ms, which no one has ever been able to do before.

In Short

• Fix Flanger delivers the sound of classic flanging, with extreme control and flexibility
• Unprecedented hands-on VSO flange control, with servo motor bounce emulation
• Fix Doubler provides lush chorus and rich textures to your vocals
• 'Auto Double' uses a unique method of accurate phase-cancellation to make a natural sounding doubler effect
• No USB iLok key required

Learn more about Fix Flanger and Doubler.

Heartbeat

Classic drum synthesis is back with a vengeance! Flexible and tweakable—Heartbeat is your source for familiar, yet unique, drum machine sounds. Use the built-in effects and the innovative Auto Layer Machine to take your beats to unexpected places. Or use Heartbeat's instrument and EQ modules in Modular.

Heartbeat is likely to cause severe palpitations. It is the drum synth of your dreams, combining modeled analog synthesis of yesteryear with forward-thinking features and flexibility. The modeled analog sound engine, the Auto Layer Machine and the included top-of-the-line effects turns Heartbeat into a killer package for your beats.

The Synthesis Engine

While Heartbeat draws inspiration from the best analog drum synths from the 1980s, it does not emulate any existing drum machine. The sound mostly originates from Softube's own modeled analog synthesis, which has been augmented with carefully selected waveforms.

The core of Heartbeat consists of the eight instrument channels. You will find two different bass drum channels, which can be as punchy and deep as you want them, but are also perfectly capable of producing snappy and hard hitting woody textures. The two dedicated snare drum channels have six parameters each which allows you to achieve anything from edgy rimshots, soft and whispery snare rolls to machine-like claps.

The percussion channels are identical and can be used to model anything from 80s style synthetic toms to cowbells and noise drops. And just like the other channels, the hihat and cymbal channels offer flexible synthesis engines - tweak to your heart's desire!

The Effects

In order to make Heartbeat your one stop shop for beat programming, we added a fully featured effects section. It includes slightly adapted versions of our beloved model of Valley People Dyna-mite and one of our top sellers of all time, the TSAR-1 Reverb. The Dyna-mite is a dynamic shaping Swiss army knife with a serious attitude. Limiting, compression, gating, sidechained ducking - Dyna-mite handles it all. And TSAR-1 is simply the most gorgeous plug-in reverb ever created.

The all new Filter Echo is a filtered delay effect with adjustable Cut Off and Resonance parameters. And finally, the output saturation can go from juicy to gritty and is not taken from any existing Softube product.

Each of the eight channels has a dedicated mixer channel with controls for volume, pan, ping-pong (auto panning), EQ (adapted specifically for each instrument) and send levels to the reverb and delay effects.

In Short

• Eight channels of drum sounds, mostly based on modeled analog synthesis
• Mixer with volume, EQ, effect sends and panning for each channel
• Four channel Auto Layer Machine for layering sounds or triggering beat patterns
• Chaos slider adds randomness to the behavior of Auto Layer Machine

Learn more about Heartbeat.

Tube Delay

A tasty echo effect that can go from clean to rude by overdriving its three modeled tube stages. Create anything from realistic room echoes to rockabilly style slap backs, or take it all the way into dub reggae echo madness.

A slightly dark and distorted delay has a way of giving a great sense of space and size to a mix without really drawing attention to itself. So that's where our Tube Delay gets in the picture.

Softube Plugins Collection List

The controls are quite self explanatory, but it's the sound that sets Tube Delay apart from any other delay you have tried. The drive knobs add a wonderfully dirty distorsion and the tone controls are just sweet. There's actually three different tube stages in this model, each adding to the total sound. The tone controls are passive and add further to the distortion. Turn up the feedback while running, and you'll have the authentic dub echo madness! We of course added the possibility of tempo syncing the delay to your song.

In Short

• 1-1000 ms delay
• Sync tempo to host
• Vintage style passive EQ
• Gritty feedback feature
• Tube preamp simulaton

Learn more about Tube Delay.

Saturation Knob

Saturation Knob is a modeled output distortion that can be used anywhere you need some grit. Use it to fatten up bass lines, add some harmonics and shimmer to vocals, or simply destroy your drum loop.

The three modes, Keep High, Neutral and Keep Low give you three kinds of characters of distortion. If you want to squash a drum loop but keep the bass drum fairly intact, you can for example use the Keep Low mode.

Parallels

In Stockholm, Sweden, there’s a synth emporium like no other – a store with such vibrancy, such range, such colour, that you’d need a dozen eyes and ears to take it all in. And the guy who runs it is no ordinary guy. He’s special, in all the best ways. His imagination fizzes and crackles with delight at the sounds of a million billion sparkling circuit boards.

Out of this hotbed, this toy-box, this fantasy-factory, Parallels was born; an instrument with not one but two sound sources, each running painstakingly recorded and exquisitely calibrated multi-waveforms from every dream-machine must-have synth you could ever want, and sculpting the resulting sounds with the highest-quality Softube filters, modulators, and effects. If you’re looking for inspiration and sheer sound-quality in your music, this is your golden ticket.

There are many possible approaches to take in creating a brand new instrument. Parallels focuses on two main things. First, it should always sound fantastic, with a minimum of fuss. And second, it should inspire the artist with elegant workflow, superb layout and visual feedback, and a sense of endless possibility.

In Short

• A plug-in soft-synth with dual wave scanning source sections
• Almost a hundred high-quality pre-recorded multi-waveforms
• Sonic progression within each waveform means near-infinite source-material
• Two parallel sources means blended sounds, opening up exponentially more possibilities
• Up to fourteen voices (seven per source when both sources are active)
• Hundreds of expertly-created presets from world-leading synth artists, engineers, and sound designers, including Brian Transeau a.k.a. BT, Richard Devine, Inhalt, and more.
• Three analogue-modelled filter types (state-variable, vactrol LPG, and resonant peaks)
• Five sophisticated types of modulation source; LFO, random, Euclidian sequencer, step sequencer, and envelope
• Five top-quality effects options; distortion, chorus, flanger, delay, and reverb

Learn more about Parallels.

Harmonics

Did you ever try to give a track attitude by adding distortion, but then wind up with a washed out, lifeless sound instead? Harmonics, with its never-before-heard approach to dynamics in distortion, is the answer.

Guitars, vocals, drums, bass, even synths often need some extra grunt to push them over the edge, but distortion can destroy dynamics and cause more problems than it solves. Too little and your sound doesn’t cut through and fill its space. Too much and you lose the light and shade, the attack and decay. Transients blend into tails, and detail and definition go out the window.

But with Harmonics, you get much more than just five awesome-sounding analog distortion models. You also get a revolutionary new approach to handling dynamics during the process of distorting the sound. The input signal is listened to and analysed by the plug-in, allowing the dynamics and detail to be preserved and enhanced even after heavy distortion is applied.

Add to that the fact that Harmonics has five totally different-sounding component-modelled distortion styles, high and low cut filters, a mix knob and more, and you end up with a very powerful secret weapon indeed.

In Short

• Five genuinely different component-modelled distortion sounds
• Revolutionary ‘Dynamic Transient Control’ technology
• ‘Amount’ knob to control the amount of saturation
• ‘Character’ knob controls tone or color of the distortion
• High and low cut filters can be placed before or after distortion
• Wet/dry blend knob for parallel processing
• THD meter allows fine control of subtle saturation

Learn more about Harmonics.

OTO Biscuit 8-bit Effects

Initially introduced in hardware in the late 00’s, the French-made OTO Biscuit quickly became a cult classic with DJs and electronic music producers around the world. Gritty bit-crushing, lo-fi multi-effects, a sweet and smooth analog filter, and a quality look and feel, made it a go-to awesome-sound-maker in clubs and studios alike.

Now it’s available in software, bringing those crunchy, dirty, edgy sounds closer to the DAW-based studio or laptop-based performance rig, and making it more intuitive than ever before.

The Biscuit offers incredibly detailed control of these essential sonic possibilities, with eight individually invertable or mutable bits, control of sample rate, waveshaping, delay, even pitch-shifting, and analog filtering (controllable manually or with a built-in step sequencer) to round off sharp edges and make even the harshest digital screech sound alive and organic.

Try it on a drum loop for gentle lo-fi digital distortion, or complete screaming chaos, and everything in-between. Take synth sounds to the next level, creating arcade game blips and bloops, adding insane aliasing and overtones, making pads move and swell with the filter. Even apply to vocals or guitars to turn analog sounds into electronic, robotic, futuristic fantasies.

In Short

• Lo-fi 8-bit magic in a fun and easy-to-use package.
• Take control on a bit-by-bit level.
• Slow the sample rate and hear that aliasing glitter fall.
• Smooth analog filter.
• Built in digital effects – waveshaping, delay, pitch-shifting.
• 8-step sequencer to drive the filter.
• Very distinctive sound, but good for many styles.
• Turn any run-of-the-mill electronic track into a vibrant classic.

Learn more about OTO Biscuit 8-bit Effects.

Transient Shaper

Being able to control the attack and decay of a sound is tremendously useful for anyone mixing music. But Softube's Transient Shaper goes beyond that due to the fact that it's a dual band processor. This means that the user can set it to affect only the treble or bass portion of a sound—separately for the Sustain and Punch parameters—and leave the rest untouched. This opens up a new realm of possibilities.

Transient shaping has become a vital technique in music mixing. The ability to sharpen or soften the onset of a sound, as well as lengthen or shorten the decay, has proven very useful for giving each sound just the right size and position in the mix. Transient Shaper takes this concept one step further, by letting the user affect either the entire frequency range—as most similar tools—or only the treble frequencies or bass frequencies.

In Short

• Dual band transient processing tool
• Add or reduce punch and/or sustain from any sound
• Affect either the whole frequency spectrum, only the high frequencies or only the low frequencies
• User selectable crossover frequency
• Clip section adds output distortion

Learn more about Transient Shaper.

Volume 3 Features

What is in Volume 3?

Volume 2 includes the following plug-ins:

• Weiss MM-1 Mastering Maximizer
• Tape
• Fix Phaser
• Modular
• Drawmer S73 Intelligent Master Processor
• Summit Audio Grand Channel
• Summit Audio EQF-100 Full Range Equalizer
• Summit Audio TLA-100A Compressor
• TSAR-1 Reverb
• TSAR-1R Reverb
• FET Compressor
• Trident A-Range
• Vintage Amp Room
• Bass Amp Room
• Fix Flanger
• Fix Doubler
• Heartbeat
• Tube Delay
• Saturation Knob
• Transient Shaper
• Harmonics
• OTO Biscuits 8-bit
• Parallels
• NKS-Ready

System Requirements

Version 2.0 of the Softube plug-ins have the following minimum requirements:

• Mac OS X 10.12 or newer (older OS versions may work but are not tested).
• Windows 64-bit, versions 7, 8 or 10.
• Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
• Screen resolution 1280x800 or larger.
• 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space. Specific information available on each instrument's page).
• Softube account.
• iLok account.
• Internet access for downloading installer and managing licenses.
• iLok generation 2 and up, if you intend to use an iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement).
• In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.

However, due to plug-in host differences between DAWs - and our own rigorous testing standards - we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Please Note:

• Softube plug-ins support 64-bit hosts only, and a 64-bit OS is required. Therefore, for example, Pro Tools 10.x is no longer supported (contact support for latest 32-bit compatible installers).
• Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
• The most recent maintenance release of the DAW application is recommended.
• A FREE iLok account is required to authorise the contents of this package

Any references to any brands on this site/page, including reference to brands and instruments, are provided for description purposes only. For example references to instrument brands are provided to describe the sound of the instrument and/or the instrument used in the sample. Plugin Boutique do not have (nor do they claim) any association with or endorsement by these brands. Any goodwill attached to those brands rest with the brand owner. Plugin Boutique or its Suppliers do not accept any liability in relation to the content of the product or the accuracy of the description. 'RHODES' is a registered trademark of Joseph A Brandstetter.

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