(9967,75,0,1662,'<h2>Sequential Instruments Tempest - Analog Drum Machine</h2>\n<i>Tempest is a six voice analog drum machine with two analog and two digital oscillators, low and highpass filters, VCAs, and LFOs.</i><br /><br />The Sequential Tempest is a professional drum machine that generates its sounds using six powerful analog synthesis voices, and uses an innovative, performance-oriented operating system that permits an extraordinary level of control to create, edit, arrange, and manipulate beats in real time without ever stopping.\n<br /><br />\nThe performance-oriented operating system, ninety panel controls, and bright 256 x 64 dot OLED display work together to provide a tightly integrated, non-stop workflow.<br /><br />\nEach of the six analog voices has two analog oscillators plus two digital oscillators (with a large bank of included samples), the classic Curtis analog lowpass filter with audio-rate modulation, an additional highpass filter, analog VCA with feedback, five envelopes, two LFOs, an extraordinary variety of analog modulation routings, and stunning sonic quality, warmth, and punch. Although optimized for drum sounds, it excels at tuned sounds as well, and even doubles as a six-voice analog keyboard synth.<br /><br />\nSixteen pressure- and velocity-sensitive lit pads are arranged in a 2 x 8 configuration, providing intuitive access to all your fingers and the ideal compromise between the popular 4 x 4 pad arrangement (popular for real-time programming ) and 1 x 16 arrangement (popular for step programming) because Tempest does both. The pads can be used to play thirty-two drum sounds (two banks), mute/unmute the thirty-two sounds on playback, play and arrange sixteen beats in real time, play one sound at sixteen tunings (in a variety of scales) or sixteen velocities, or as sixteen time steps for step programming. The ROLL button permits creating drum rolls or repeated groove patterns by varying pad pressure as the beat records, and doubles as a momentary \"stutter\" effect when the pads are assigned to play beats.<br /><br />\nIn addition to the six stereo direct voice outputs, there are stereo mix outputs and phones outputs, plus two inputs for foot switches or expression pedals, MIDI in/out and USB.<br /><br />\nTwo pressure and position-sensitive Note FX slide controllers permit real-time recording of note or beat-wide sound parameter changes into the drumbeat as you play. For example, record simultaneous filter frequency, tuning, envelope decay, and pan changes for each note. The Playback key permits using the slider to override these parameters on playback, which can be recorded back into the beat. Plus, the sliders can be used in performance to alter beat-wide sound parameters like low-pass frequency or resonance, high-pass frequency, envelope attack or decay, and more.<br /><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><h3>Tempest Key Features<b><span class=\"PageText_L660n\"></span></b></h3></span></span><ul><li>Record a drumbeat in real-time</li><li>Switch to another drumbeat and use the lit pads to record it using step programming</li><li>Switch to another drumbeat and record tuned keyboard parts</li><li>Use the two touch controllers to to record real-time note sound animations or perform beat-wide sound changes</li><li>Use the generous sound controls to edit any of the drum sounds</li><li>Tweak the analog effects or drum mix</li><li>Arrange beats in real time and record the live arrangement into a song</li><li>And all of the above without ever stopping play</li></ul><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3></span></span>'),(9968,75,1,1662,'<h2>Sequential Instruments Tempest - Analog Drum Machine</h2>\n<i>Tempest is a six voice analog drum machine with two analog and two digital oscillators, low and highpass filters, VCAs, and LFOs.</i><br /><br />The Sequential Tempest is a professional drum machine that generates its sounds using six powerful analog synthesis voices, and uses an innovative, performance-oriented operating system that permits an extraordinary level of control to create, edit, arrange, and manipulate beats in real time without ever stopping.\n<br /><br />\nThe performance-oriented operating system, ninety panel controls, and bright 256 x 64 dot OLED display work together to provide a tightly integrated, non-stop workflow.<br /><br />\nEach of the six analog voices has two analog oscillators plus two digital oscillators (with a large bank of included samples), the classic Curtis analog lowpass filter with audio-rate modulation, an additional highpass filter, analog VCA with feedback, five envelopes, two LFOs, an extraordinary variety of analog modulation routings, and stunning sonic quality, warmth, and punch. Although optimized for drum sounds, it excels at tuned sounds as well, and even doubles as a six-voice analog keyboard synth.<br /><br />\nSixteen pressure- and velocity-sensitive lit pads are arranged in a 2 x 8 configuration, providing intuitive access to all your fingers and the ideal compromise between the popular 4 x 4 pad arrangement (popular for real-time programming ) and 1 x 16 arrangement (popular for step programming) because Tempest does both. The pads can be used to play thirty-two drum sounds (two banks), mute/unmute the thirty-two sounds on playback, play and arrange sixteen beats in real time, play one sound at sixteen tunings (in a variety of scales) or sixteen velocities, or as sixteen time steps for step programming. The ROLL button permits creating drum rolls or repeated groove patterns by varying pad pressure as the beat records, and doubles as a momentary \"stutter\" effect when the pads are assigned to play beats.<br /><br />\nIn addition to the six stereo direct voice outputs, there are stereo mix outputs and phones outputs, plus two inputs for foot switches or expression pedals, MIDI in/out and USB.<br /><br />\nTwo pressure and position-sensitive Note FX slide controllers permit real-time recording of note or beat-wide sound parameter changes into the drumbeat as you play. For example, record simultaneous filter frequency, tuning, envelope decay, and pan changes for each note. The Playback key permits using the slider to override these parameters on playback, which can be recorded back into the beat. Plus, the sliders can be used in performance to alter beat-wide sound parameters like low-pass frequency or resonance, high-pass frequency, envelope attack or decay, and more.<br /><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><h3>Tempest Key Features<b><span class=\"PageText_L660n\"></span></b></h3></span></span><ul><li>Record a drumbeat in real-time</li><li>Switch to another drumbeat and use the lit pads to record it using step programming</li><li>Switch to another drumbeat and record tuned keyboard parts</li><li>Use the two touch controllers to to record real-time note sound animations or perform beat-wide sound changes</li><li>Use the generous sound controls to edit any of the drum sounds</li><li>Tweak the analog effects or drum mix</li><li>Arrange beats in real time and record the live arrangement into a song</li><li>And all of the above without ever stopping play</li></ul><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3></span></span>'),(9969,85,0,1662,''),(9970,85,1,1662,''),(9971,76,0,1662,''),(9972,76,1,1662,''),(9973,75,0,1663,'<h2>Serato DJ Pro Software</h2>\n<span style=\"font-size:16px; font-style:italic;\">The Most Popular and Powerful DJ mixing software, available for Mac and Windows.</span><br /><br />\nSerato DJ Pro is the most popular DJ software globally. When you’re talking about Hip-Hop, Dance, and everything in between, you’re looking at the standard. Use with Turntables, CDJs, Controllers, Mixers and Interfaces from entry level to pro, Or, without any hardware connected using the brand new \"Practice Mode\" <br /><br />\nThis Pro release includes a number of highly anticipated updates including a full-featured 2-deck Practice Mode which allows you to mix two tracks together with no hardware connected. This allows you to audition your mixes from anywhere, while away from your hardware set up. New 64-bit support for better performance and stability, support for high resolution Retina 4k and UHD screens, a refreshed UI and an improved help & support section in-app. \n<br /><br />\n<h3>DJ Pro Features</h3>\n<ul>\n	<li>64-bit support for better performance and stability</li><li>Improved support for high resolution screens</li><li>Practice Mode: Mix two tracks together with no hardware connected - ideal for testing out your blends wherever you are.</li><li>Plug and Play: Plug in the supported hardware and Serato DJ Pro is ready to go.</li><li>Library: Easily add and organize your favorite music or simply DJ from your existing iTunes library.</li><li>Intuitive Design: Streamlined design for quick and easy use of your favorite features.</li><li>Sampler: Trigger up to 32 Samples, Stings or Loops over your tracks with the built in Serato Sampler.</li><li>Cues & Loops: Easily trigger and loop the favorite parts of your track.</li><li>FX: Add another dimension to your mix with powerful FX from iZotope.</li><li>Sync: Use Sync to get your tracks in time quickly.</li><li>Expansion Packs: Add even more functionality to Serato DJ Pro.</li>\n</ul>\n<br />'),(9974,75,1,1663,'<h2>Serato DJ Pro Software</h2>\n<span style=\"font-size:16px; font-style:italic;\">The Most Popular and Powerful DJ mixing software, available for Mac and Windows.</span><br /><br />\nSerato DJ Pro is the most popular DJ software globally. When you’re talking about Hip-Hop, Dance, and everything in between, you’re looking at the standard. Use with Turntables, CDJs, Controllers, Mixers and Interfaces from entry level to pro, Or, without any hardware connected using the brand new \"Practice Mode\" <br /><br />\nThis Pro release includes a number of highly anticipated updates including a full-featured 2-deck Practice Mode which allows you to mix two tracks together with no hardware connected. This allows you to audition your mixes from anywhere, while away from your hardware set up. New 64-bit support for better performance and stability, support for high resolution Retina 4k and UHD screens, a refreshed UI and an improved help & support section in-app. \n<br /><br />\n<h3>DJ Pro Features</h3>\n<ul>\n	<li>64-bit support for better performance and stability</li><li>Improved support for high resolution screens</li><li>Practice Mode: Mix two tracks together with no hardware connected - ideal for testing out your blends wherever you are.</li><li>Plug and Play: Plug in the supported hardware and Serato DJ Pro is ready to go.</li><li>Library: Easily add and organize your favorite music or simply DJ from your existing iTunes library.</li><li>Intuitive Design: Streamlined design for quick and easy use of your favorite features.</li><li>Sampler: Trigger up to 32 Samples, Stings or Loops over your tracks with the built in Serato Sampler.</li><li>Cues & Loops: Easily trigger and loop the favorite parts of your track.</li><li>FX: Add another dimension to your mix with powerful FX from iZotope.</li><li>Sync: Use Sync to get your tracks in time quickly.</li><li>Expansion Packs: Add even more functionality to Serato DJ Pro.</li>\n</ul>\n<br />'),(9975,85,0,1663,'Serato DJ Pro Software'),(9976,85,1,1663,'Serato DJ Pro Software'),(9977,76,0,1663,''),(9978,76,1,1663,''),(9979,75,0,1664,'<h2>Serato Pitch \'n Time LE</h2>\n<span style=\"font-size:16px; font-style:italic;\">Time Stretching/Pitch Shifting Plug-in for Pro Tools and Logic Pro</span><br /><br />\n\nSerato Pitch \'n Time LE makes professional quality pitch-shifting and time-stretching more accessible than ever before. Pitch \'n Time LE 3.0 is available for both Pro Tools and Logic Pro for use as an algorithm within Logic\'s Time & Pitch Machine.<br /><br />\n\nPitch \'n Time LE allows you to make dramatic alterations to a sample, or even to a completed mix, and produce a natural sounding result that you have to hear to believe. Pitch \'n Time LE is simple to use and yet produces an accurate and professional quality result.<br /><br />\n\nIf you\'re looking to manipulate pitch and time in Pro Tools or Logic Pro, you need Serato Pitch \'n Time LE.<br /><br />\n<h3>Pitch \'n Time LE Features</h3>\n<ul>\n	<li>Modify tempo from 1/2 to 2x of original and simultaneously pitch shift by ±12 semitones.</li>\n	<li>Integrates into Logic\'s Time Machine™.                                                     </li>\n</ul>\n<br />\n<em>NOTE: This product requires an iLok (sold separately) for authorization.</em>'),(9980,75,1,1664,'<h2>Serato Pitch \'n Time LE</h2>\n<span style=\"font-size:16px; font-style:italic;\">Time Stretching/Pitch Shifting Plug-in for Pro Tools and Logic Pro</span><br /><br />\n\nSerato Pitch \'n Time LE makes professional quality pitch-shifting and time-stretching more accessible than ever before. Pitch \'n Time LE 3.0 is available for both Pro Tools and Logic Pro for use as an algorithm within Logic\'s Time & Pitch Machine.<br /><br />\n\nPitch \'n Time LE allows you to make dramatic alterations to a sample, or even to a completed mix, and produce a natural sounding result that you have to hear to believe. Pitch \'n Time LE is simple to use and yet produces an accurate and professional quality result.<br /><br />\n\nIf you\'re looking to manipulate pitch and time in Pro Tools or Logic Pro, you need Serato Pitch \'n Time LE.<br /><br />\n<h3>Pitch \'n Time LE Features</h3>\n<ul>\n	<li>Modify tempo from 1/2 to 2x of original and simultaneously pitch shift by ±12 semitones.</li>\n	<li>Integrates into Logic\'s Time Machine™.                                                     </li>\n</ul>\n<br />\n<em>NOTE: This product requires an iLok (sold separately) for authorization.</em>'),(9981,85,0,1664,''),(9982,85,1,1664,''),(9983,76,0,1664,''),(9984,76,1,1664,''),(9985,75,0,1665,'<h2>Serato Pitch \'n Time Pro</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Time stretching and pitch-shifting plug-in for Pro Tools</span><br /><br />\n\nSerato Pitch \'n Time Pro is a powerful, yet simple to use time-stretching and pitch-shifting plug-in for the Pro Tools. Pitch \'n Time Pro offers time compression/expansion from a ratio of 1/8 speed to 8x speed independent of pitch, and pitch shifting of up to 36 semitones independent of tempo.<br /><br />\n\nThe time-stretching and pitch-shifting functions each have three interchangeable panels, ranging from simple fixed ratios to complex tempo and pitch alterations that vary over time. You can even warp the timing of your samples just by placing markers and moving them around. The tempo and pitch panels can be mixed and matched to suit your application, with real time previewing.<br /><br />\n\nIf you\'re looking to manipulate pitch and time in Pro Tools, you need Serato Pitch \'n Time Pro.<br /><br />\n\n<h3>Pitch \'n Time Pro Features</h3>\n<ul>\n<li>Perfect Pro Tools integration using the Pro Tools time trimmer tool.                                               </li>\n<li>Pitch \'n Time Pro has a range of 1/8 speed and through to to 8 x speed, and pitch shifting of up to ±36 semitones. </li>\n<li>Time stretch by tempo change, length change, target length, or target BPM.                                         </li>\n<li>Select pitch shift by frequency change or semitone shift.                                                          </li>\n</ul>\n<br />\n<em>NOTE: This product requires an iLok (sold separately) for authorization.</em>'),(9986,75,1,1665,'<h2>Serato Pitch \'n Time Pro</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Time stretching and pitch-shifting plug-in for Pro Tools</span><br /><br />\n\nSerato Pitch \'n Time Pro is a powerful, yet simple to use time-stretching and pitch-shifting plug-in for the Pro Tools. Pitch \'n Time Pro offers time compression/expansion from a ratio of 1/8 speed to 8x speed independent of pitch, and pitch shifting of up to 36 semitones independent of tempo.<br /><br />\n\nThe time-stretching and pitch-shifting functions each have three interchangeable panels, ranging from simple fixed ratios to complex tempo and pitch alterations that vary over time. You can even warp the timing of your samples just by placing markers and moving them around. The tempo and pitch panels can be mixed and matched to suit your application, with real time previewing.<br /><br />\n\nIf you\'re looking to manipulate pitch and time in Pro Tools, you need Serato Pitch \'n Time Pro.<br /><br />\n\n<h3>Pitch \'n Time Pro Features</h3>\n<ul>\n<li>Perfect Pro Tools integration using the Pro Tools time trimmer tool.                                               </li>\n<li>Pitch \'n Time Pro has a range of 1/8 speed and through to to 8 x speed, and pitch shifting of up to ±36 semitones. </li>\n<li>Time stretch by tempo change, length change, target length, or target BPM.                                         </li>\n<li>Select pitch shift by frequency change or semitone shift.                                                          </li>\n</ul>\n<br />\n<em>NOTE: This product requires an iLok (sold separately) for authorization.</em>'),(9987,85,0,1665,''),(9988,85,1,1665,''),(9989,76,0,1665,''),(9990,76,1,1665,''),(9991,75,0,1666,'<h1>Serato Studio Beat Maker Software</h1>\n<i>Intuitive beat making software for beginners, DJs, and advanced producers. Spend less time hitting roadblocks and more time making music with Serato Studio.</i><br /><br />\nSerato Studio is the ultimate beat maker. Whether you’re a beginner, advanced producer or DJ, you can make beats or remixes in moments with loads of free built-in sounds and samples. No hardware required, with Serato Studio all you need is your laptop so you can start creating when inspiration strikes.<br /><br />Easily make remixes, DJ edits, or mashups. Use your DJ hardware to make beats. And get familiar elements including your entire Serato DJ library, Waveforms, a mixing channel, and FX.<br /><br />Get your ideas down quick and stay in the creative flow with time-saving features, including pre-made drum patterns, BPM-sync and one-click key shifting.<br /><br />\n<h3>Serato Studio Features</h3>\n<ul>\n	<li><b>Make Beats </b>- Get inspired with over 300 pre-made drum patterns across a range of different genres</li><li><b>DJ Style Library -</b> Get your Serato DJ library with crates, cue points, BPM and key information.                                                                                  </li>\n	<li><b>High Quality FX - </b>Tweak your beats using over 30 built-in FX presets that will feel instantly familiar to DJs.</li>\n	<li><b>Master Key and BPM - </b>Let the project key automatically update as you start making your beat. Adjust the BPM to extremes with world-class Pitch \'n Time stretching.               </li>\n	<li><b>Quality Content Built In - </b>Studio comes with a huge amount of built-in drum kits, instruments, audio loops and samples, all for free. With more content delivered every month.   </li>\n	<li><b>Simple Sequencer - </b>Get creative with your drum patterns using the simple and easy-to-use 808-style step sequencer.                                                               </li>\n	<li><b>DJ style mixing - </b>Mix your sounds using a familiar DJ channel mixing strip, with dedicated gain, EQs, filters and more.                                                          </li>\n</ul>\n<br />'),(9992,75,1,1666,'<h1>Serato Studio Beat Maker Software</h1>\n<i>Intuitive beat making software for beginners, DJs, and advanced producers. Spend less time hitting roadblocks and more time making music with Serato Studio.</i><br /><br />\nSerato Studio is the ultimate beat maker. Whether you’re a beginner, advanced producer or DJ, you can make beats or remixes in moments with loads of free built-in sounds and samples. No hardware required, with Serato Studio all you need is your laptop so you can start creating when inspiration strikes.<br /><br />Easily make remixes, DJ edits, or mashups. Use your DJ hardware to make beats. And get familiar elements including your entire Serato DJ library, Waveforms, a mixing channel, and FX.<br /><br />Get your ideas down quick and stay in the creative flow with time-saving features, including pre-made drum patterns, BPM-sync and one-click key shifting.<br /><br />\n<h3>Serato Studio Features</h3>\n<ul>\n	<li><b>Make Beats </b>- Get inspired with over 300 pre-made drum patterns across a range of different genres</li><li><b>DJ Style Library -</b> Get your Serato DJ library with crates, cue points, BPM and key information.                                                                                  </li>\n	<li><b>High Quality FX - </b>Tweak your beats using over 30 built-in FX presets that will feel instantly familiar to DJs.</li>\n	<li><b>Master Key and BPM - </b>Let the project key automatically update as you start making your beat. Adjust the BPM to extremes with world-class Pitch \'n Time stretching.               </li>\n	<li><b>Quality Content Built In - </b>Studio comes with a huge amount of built-in drum kits, instruments, audio loops and samples, all for free. With more content delivered every month.   </li>\n	<li><b>Simple Sequencer - </b>Get creative with your drum patterns using the simple and easy-to-use 808-style step sequencer.                                                               </li>\n	<li><b>DJ style mixing - </b>Mix your sounds using a familiar DJ channel mixing strip, with dedicated gain, EQs, filters and more.                                                          </li>\n</ul>\n<br />'),(9993,85,0,1666,'Serato Studio Beat Maker Software'),(9994,85,1,1666,'Serato Studio Beat Maker Software'),(9995,76,0,1666,''),(9996,76,1,1666,''),(9997,75,0,1667,'<h1>Shure KSM313 Dual-Voice Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Premium bi-directional microphone featuring Roswellite® ribbon technology for world-class audio and performance.</span><br /><br />\n\nThe Shure KSM313/NE is a premium bi-directional ribbon microphone for world-class audio and performance. The dual-voice design features discrete front-and-rear side sonic signatures for use with amplified instruments or intimate vocal applications. Hand-assembled in the USA with custom components and proprietary Roswellite® technology for revolutionary ribbon resilience under extreme conditions.\n<br /><br />\nThe high-tensile strength, toughness, and shape memory of Roswellite® ribbon material replaces traditional foil ribbons for superior resilience at extreme SPLs.<br /><br />\nWith unique technology and application features, alongside superior materials and construction, Shure KSM Ribbon Microphones are the necessary choice for the world’s most accomplished studio and live performances.<br /><br />\n<h3>KSM313 <span style=\"background-color: initial;\">Features</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li><span style=\"background-color: initial;\">Bi-directional polar pattern delivers premier audio with superior off-axis rejection</span></li>\n	<li>True Dual-Voice tuned specifically for user’s for choice of response: warm and full for amplifiers, or swivel for bright and flattering vocals</li>\n	<li>Revolutionary Roswellite® proprietary ribbon material replaces traditional foil ribbons with high tensile strength, toughness, and shape memory that provides superior resilience at extreme SPLs</li>\n	<li>Custom-sourced components for superior presence, minimized signal loss, and maximized output</li>\n	<li>146 dB SPL across 30 – 15,000 Hz frequency response ideal for capturing fast transients in vocals, acoustic instruments, and concert halls</li>\n	<li>Legendary Shure quality and superior construction from hand-assembly of machined steel, silver, gold, and aluminum materials</li>\n</ul>\n<br />'),(9998,75,1,1667,'<h1>Shure KSM313 Dual-Voice Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Premium bi-directional microphone featuring Roswellite® ribbon technology for world-class audio and performance.</span><br /><br />\n\nThe Shure KSM313/NE is a premium bi-directional ribbon microphone for world-class audio and performance. The dual-voice design features discrete front-and-rear side sonic signatures for use with amplified instruments or intimate vocal applications. Hand-assembled in the USA with custom components and proprietary Roswellite® technology for revolutionary ribbon resilience under extreme conditions.\n<br /><br />\nThe high-tensile strength, toughness, and shape memory of Roswellite® ribbon material replaces traditional foil ribbons for superior resilience at extreme SPLs.<br /><br />\nWith unique technology and application features, alongside superior materials and construction, Shure KSM Ribbon Microphones are the necessary choice for the world’s most accomplished studio and live performances.<br /><br />\n<h3>KSM313 <span style=\"background-color: initial;\">Features</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li><span style=\"background-color: initial;\">Bi-directional polar pattern delivers premier audio with superior off-axis rejection</span></li>\n	<li>True Dual-Voice tuned specifically for user’s for choice of response: warm and full for amplifiers, or swivel for bright and flattering vocals</li>\n	<li>Revolutionary Roswellite® proprietary ribbon material replaces traditional foil ribbons with high tensile strength, toughness, and shape memory that provides superior resilience at extreme SPLs</li>\n	<li>Custom-sourced components for superior presence, minimized signal loss, and maximized output</li>\n	<li>146 dB SPL across 30 – 15,000 Hz frequency response ideal for capturing fast transients in vocals, acoustic instruments, and concert halls</li>\n	<li>Legendary Shure quality and superior construction from hand-assembly of machined steel, silver, gold, and aluminum materials</li>\n</ul>\n<br />'),(9999,85,0,1667,'Shure KSM313 Ribbon Microphone'),(10000,85,1,1667,'Shure KSM313 Ribbon Microphone'),(10001,76,0,1667,''),(10002,76,1,1667,''),(10003,75,0,1668,'<h1>Shure KSM42 Large Dual-Diaphragm Vocal Microphone</h1><i>Premium cardioid condenser microphone with capsule ideal for world-class vocal recording.</i><br /><br /><div><div>This premium side-address, cardioid condenser microphone features a large dual-diaphragm capsule, optimized for world-class vocal recording and performance applications. With a tailored frequency response and extensive internal and external pop filtering, the single-pattern, dual-diaphragm design of the KSM42, featuring Prethos® Advanced Preamplifier Technology exhibits an exceptionally smooth proximity control and ultra-wide dynamic range. The KSM42 is the premier choice for capturing sophisticated, powerful and intimate vocal performances.<br /><br /><span style=\"background-color: initial;\">A milestone achievement in sound reinforcement, Prethos Advanced Preamplifier Technology employs transparent internal circuitry architectures that enable unprecedented audio quality and performance.</span></div></div><br /><h3>KSM42 <span style=\"background-color: initial;\">Features</span></h3><span style=\"background-color: initial;\"></span><ul style=\"\"><li>Highly consistent cardioid polar pattern creates a broad “sweet spot” and natural off-axis response</li><li>Prethos® Advanced Preamplifier Technology exhibits extremely low self-noise with superior dynamic range, transient response and ultra-low distortion for transparent recording</li><li>Dual-diaphragm design with an active front, ultra thin (2.5 micron) 24-karat gold, low mass, 1-inch Mylar® diaphragm</li><li>Passive back diaphragm delivers exceptional control of low frequency proximity effect</li><li>Tailored low-frequency roll-off minimizes low frequency room noise</li><li>Integrated three-stage mesh grille guards against wind and breath noise</li><li>Open cage ShureLock® rubber suspension shock mount with low-profile Popper Stopper™ magnetic pop filter produces a natural space between performer and microphone</li><li>Extremely low self noise for critical studio vocal recording</li><li>Premium electronic components and gold-plated internal and external connectors</li><li>Durable zinc die-cast housing and hardened low carbon steel grille</li><li>Internal shock mount to reduce unwanted handling and stand noise</li></ul>'),(10004,75,1,1668,'<h1>Shure KSM42 Large Dual-Diaphragm Vocal Microphone</h1><i>Premium cardioid condenser microphone with capsule ideal for world-class vocal recording.</i><br /><br /><div><div>This premium side-address, cardioid condenser microphone features a large dual-diaphragm capsule, optimized for world-class vocal recording and performance applications. With a tailored frequency response and extensive internal and external pop filtering, the single-pattern, dual-diaphragm design of the KSM42, featuring Prethos® Advanced Preamplifier Technology exhibits an exceptionally smooth proximity control and ultra-wide dynamic range. The KSM42 is the premier choice for capturing sophisticated, powerful and intimate vocal performances.<br /><br /><span style=\"background-color: initial;\">A milestone achievement in sound reinforcement, Prethos Advanced Preamplifier Technology employs transparent internal circuitry architectures that enable unprecedented audio quality and performance.</span></div></div><br /><h3>KSM42 <span style=\"background-color: initial;\">Features</span></h3><span style=\"background-color: initial;\"></span><ul style=\"\"><li>Highly consistent cardioid polar pattern creates a broad “sweet spot” and natural off-axis response</li><li>Prethos® Advanced Preamplifier Technology exhibits extremely low self-noise with superior dynamic range, transient response and ultra-low distortion for transparent recording</li><li>Dual-diaphragm design with an active front, ultra thin (2.5 micron) 24-karat gold, low mass, 1-inch Mylar® diaphragm</li><li>Passive back diaphragm delivers exceptional control of low frequency proximity effect</li><li>Tailored low-frequency roll-off minimizes low frequency room noise</li><li>Integrated three-stage mesh grille guards against wind and breath noise</li><li>Open cage ShureLock® rubber suspension shock mount with low-profile Popper Stopper™ magnetic pop filter produces a natural space between performer and microphone</li><li>Extremely low self noise for critical studio vocal recording</li><li>Premium electronic components and gold-plated internal and external connectors</li><li>Durable zinc die-cast housing and hardened low carbon steel grille</li><li>Internal shock mount to reduce unwanted handling and stand noise</li></ul>'),(10005,85,0,1668,'Shure KSM42 Condenser Microphone'),(10006,85,1,1668,'Shure KSM42 Condenser Microphone'),(10007,76,0,1668,''),(10008,76,1,1668,''),(10009,75,0,1669,'<h1>Shure KSM44A Condenser Microphone</h1><i>Premium microphone with three polar pattern options (cardioid, omnidirectional, bidirectional).</i><br /><br /><div>The KSM44A is a premium, large-diaphragm, side-address condenser microphone with multiple polar pattern options (cardioid, omnidirectional, bidirectional). The refined and sophisticated design of the KSM44A features an externally biased, dual 1-inch diaphragms, extensive internal pop filtering and Prethos® Advanced Preamplifier Technology for a ground-breaking threshold minimum of self-noise. The KSM44A is the premier choice for the highest level of professional studio and stage performance.<br /><br /><span style=\"background-color: initial;\">A milestone achievement in sound reinforcement, Prethos Advanced Preamplifier Technology employs transparent internal circuitry architectures that enable unprecedented audio quality and performance.</span></div><br /><h3>KSM44A <span style=\"background-color: initial;\">Features</span></h3><span style=\"background-color: initial;\"></span><ul style=\"\"><li>Prethos® Advanced Preamplifier Technology: Class A, discrete, transformerless preamplifier provides transparency, extremely fast transient response and no crossover distortion. Minimizes harmonic and intermodulation distortions.</li><li>Groundbreaking specifications: 4dB of self-noise and max SPL of 131 dB for a total dynamic range of 127 dB – an increase of 7 dB that defines the new standard for cleanly nuanced audio capture</li><li>Multiple polar patterns–cardioid, omnidirectional and bidirectional–for maximum flexibility in a wide variety of recording applications</li><li>Dual 1 inch, externally biased, ultra-thin, 2.5 μm, 24 Karat gold-layered, low mass diaphragms provide superior frequency response</li><li>Premium electronic components and gold-plated internal and external connectors</li><li>Subsonic filter eliminates rumble from mechanical vibration below 17 Hz.</li><li>Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)</li><li>3-position switchable low-frequency filter helps reduce unwanted stand vibration noise or counteract proximity effect</li><li>Integrated three-stage “pop” protection grille reduces plosives and other breath noise</li></ul>'),(10010,75,1,1669,'<h1>Shure KSM44A Condenser Microphone</h1><i>Premium microphone with three polar pattern options (cardioid, omnidirectional, bidirectional).</i><br /><br /><div>The KSM44A is a premium, large-diaphragm, side-address condenser microphone with multiple polar pattern options (cardioid, omnidirectional, bidirectional). The refined and sophisticated design of the KSM44A features an externally biased, dual 1-inch diaphragms, extensive internal pop filtering and Prethos® Advanced Preamplifier Technology for a ground-breaking threshold minimum of self-noise. The KSM44A is the premier choice for the highest level of professional studio and stage performance.<br /><br /><span style=\"background-color: initial;\">A milestone achievement in sound reinforcement, Prethos Advanced Preamplifier Technology employs transparent internal circuitry architectures that enable unprecedented audio quality and performance.</span></div><br /><h3>KSM44A <span style=\"background-color: initial;\">Features</span></h3><span style=\"background-color: initial;\"></span><ul style=\"\"><li>Prethos® Advanced Preamplifier Technology: Class A, discrete, transformerless preamplifier provides transparency, extremely fast transient response and no crossover distortion. Minimizes harmonic and intermodulation distortions.</li><li>Groundbreaking specifications: 4dB of self-noise and max SPL of 131 dB for a total dynamic range of 127 dB – an increase of 7 dB that defines the new standard for cleanly nuanced audio capture</li><li>Multiple polar patterns–cardioid, omnidirectional and bidirectional–for maximum flexibility in a wide variety of recording applications</li><li>Dual 1 inch, externally biased, ultra-thin, 2.5 μm, 24 Karat gold-layered, low mass diaphragms provide superior frequency response</li><li>Premium electronic components and gold-plated internal and external connectors</li><li>Subsonic filter eliminates rumble from mechanical vibration below 17 Hz.</li><li>Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)</li><li>3-position switchable low-frequency filter helps reduce unwanted stand vibration noise or counteract proximity effect</li><li>Integrated three-stage “pop” protection grille reduces plosives and other breath noise</li></ul>'),(10011,85,0,1669,'Shure KSM44A Condenser Microphone'),(10012,85,1,1669,'Shure KSM44A Condenser Microphone'),(10013,76,0,1669,''),(10014,76,1,1669,''),(10015,75,0,1670,'<h1>Shure SM57 Dynamic Instrument Microphone</h1><i>An industry standard for performance and recording, the versatile and rugged SM57 is an exceptional instrument microphone and vocal microphone.</i><br /><br /><div>The legendary Shure SM57 is exceptional for musical instrument pickup and vocals. With its bright, clean sound and contoured frequency response, the SM57 is ideal for live sound reinforcement and recording.<br /><br /><span style=\"background-color: initial;\">The SM57 has an extremely effective cardioid pickup pattern that isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds.<br /><br /></span><span style=\"background-color: initial;\">Outstanding performance, reliability, and application diversity make this \"workhorse\" the choice of performers, producers, and sound engineers worldwide.</span></div><br /><h3>Shure S57 Features</h3><ul style=\"\"><li>Contoured frequency response for clean, instrumental reproduction and rich vocal pickup</li><li>Professional-quality reproduction for drum, percussion, and instrument amplifier miking</li><li>Uniform cardioid pickup pattern isolates the main sound source while reducing background noise</li><li>Pneumatic shock-mount system cuts down handling noise</li><li>Extremely durable under the heaviest use</li><li>Frequency response: 40 to 15,000 Hz</li><li>Replacement cartridge: R57</li></ul>'),(10016,75,1,1670,'<h1>Shure SM57 Dynamic Instrument Microphone</h1><i>An industry standard for performance and recording, the versatile and rugged SM57 is an exceptional instrument microphone and vocal microphone.</i><br /><br /><div>The legendary Shure SM57 is exceptional for musical instrument pickup and vocals. With its bright, clean sound and contoured frequency response, the SM57 is ideal for live sound reinforcement and recording.<br /><br /><span style=\"background-color: initial;\">The SM57 has an extremely effective cardioid pickup pattern that isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds.<br /><br /></span><span style=\"background-color: initial;\">Outstanding performance, reliability, and application diversity make this \"workhorse\" the choice of performers, producers, and sound engineers worldwide.</span></div><br /><h3>Shure S57 Features</h3><ul style=\"\"><li>Contoured frequency response for clean, instrumental reproduction and rich vocal pickup</li><li>Professional-quality reproduction for drum, percussion, and instrument amplifier miking</li><li>Uniform cardioid pickup pattern isolates the main sound source while reducing background noise</li><li>Pneumatic shock-mount system cuts down handling noise</li><li>Extremely durable under the heaviest use</li><li>Frequency response: 40 to 15,000 Hz</li><li>Replacement cartridge: R57</li></ul>'),(10017,85,0,1670,'Shure SM57 Dynamic Instrument Microphone'),(10018,85,1,1670,'Shure SM57 Dynamic Instrument Microphone'),(10019,76,0,1670,''),(10020,76,1,1670,''),(10021,75,0,1671,'<h1>Shure SM58 Dynamic Vocal Microphone</h1><i>Tuned to accentuate the warmth and clarity of lead and back-up vocals, the SM58 is a legendary live vocal microphone known for its rugged reliability on tour.</i><br /><br /><div>The legendary Shure SM58 vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Its tailored vocal response for sound is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath \"pop\" noise. A unidirectional (cardioid) pickup pattern isolates the main sound source while minimizing unwanted background noise.<br /><br /><span style=\"background-color: initial;\">Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently, outdoors or indoors.</span></div><br /><h3>Shure SM58 Features</h3><ul style=\"\"><li>Frequency response tailored for vocals, with brightened midrange and bass rolloff</li><li>Uniform cardioid pickup pattern isolates the main sound source and minimizes background noise</li><li>Pneumatic shock-mount system cuts down handling noise</li><li>Effective, built-in spherical wind and pop filter</li><li>Supplied with break-resistant stand adapter which rotates 180 degrees</li><li>Legendary Shure quality, ruggedness and reliability</li><li>Cardioid (unidirectional) dynamic</li><li>Frequency response: 50 to 15,000 Hz</li><li>Replacement cartridge: R59</li></ul>'),(10022,75,1,1671,'<h1>Shure SM58 Dynamic Vocal Microphone</h1><i>Tuned to accentuate the warmth and clarity of lead and back-up vocals, the SM58 is a legendary live vocal microphone known for its rugged reliability on tour.</i><br /><br /><div>The legendary Shure SM58 vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Its tailored vocal response for sound is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath \"pop\" noise. A unidirectional (cardioid) pickup pattern isolates the main sound source while minimizing unwanted background noise.<br /><br /><span style=\"background-color: initial;\">Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently, outdoors or indoors.</span></div><br /><h3>Shure SM58 Features</h3><ul style=\"\"><li>Frequency response tailored for vocals, with brightened midrange and bass rolloff</li><li>Uniform cardioid pickup pattern isolates the main sound source and minimizes background noise</li><li>Pneumatic shock-mount system cuts down handling noise</li><li>Effective, built-in spherical wind and pop filter</li><li>Supplied with break-resistant stand adapter which rotates 180 degrees</li><li>Legendary Shure quality, ruggedness and reliability</li><li>Cardioid (unidirectional) dynamic</li><li>Frequency response: 50 to 15,000 Hz</li><li>Replacement cartridge: R59</li></ul>'),(10023,85,0,1671,'Shure SM58 Dynamic Vocal Microphone'),(10024,85,1,1671,'Shure SM58 Dynamic Vocal Microphone'),(10025,76,0,1671,''),(10026,76,1,1671,''),(10027,75,0,1672,'<h1>Shure SM7B Dynamic Vocal Microphone</h1><i>\nPopular radio and TV mic features excellent shielding against electromagnetic hum. Plus mounting bracket.</i><br /><br />\n\nThe Shure SM7B dynamic vocal microphone has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices.\n<br /><br />\nThe SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications. <br /><br />\n<h3>Shure SM7B Features</h3>\n<ul>\n	<li>Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speech                                            </li>\n	<li>Bass rolloff and mid-range emphasis (presence boost) controls with graphic display of response setting                                                   </li>\n	<li>Improved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitors                           </li>\n	<li>Internal \"air suspension\" shock isolation virtually eliminates mechanical noise transmission                                                             </li>\n	<li>Highly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narration             </li>\n	<li>Now shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocals                        </li>\n	<li>Yoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone position                                   </li>\n	<li>Classic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis sound </li>\n	<li>Rugged construction and excellent cartridge protection for outstanding reliability                                                                       </li>\n	<li>Replacement cartridge:  RPM106                                                                                                                           </li>\n</ul>'),(10028,75,1,1672,'<h1>Shure SM7B Dynamic Vocal Microphone</h1><i>\nPopular radio and TV mic features excellent shielding against electromagnetic hum. Plus mounting bracket.</i><br /><br />\n\nThe Shure SM7B dynamic vocal microphone has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices.\n<br /><br />\nThe SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications. <br /><br />\n<h3>Shure SM7B Features</h3>\n<ul>\n	<li>Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speech                                            </li>\n	<li>Bass rolloff and mid-range emphasis (presence boost) controls with graphic display of response setting                                                   </li>\n	<li>Improved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitors                           </li>\n	<li>Internal \"air suspension\" shock isolation virtually eliminates mechanical noise transmission                                                             </li>\n	<li>Highly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narration             </li>\n	<li>Now shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocals                        </li>\n	<li>Yoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone position                                   </li>\n	<li>Classic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis sound </li>\n	<li>Rugged construction and excellent cartridge protection for outstanding reliability                                                                       </li>\n	<li>Replacement cartridge:  RPM106                                                                                                                           </li>\n</ul>'),(10029,85,0,1672,'Shure SM7B Vocal Dynamic Microphone'),(10030,85,1,1672,'Shure SM7B Vocal Dynamic Microphone'),(10031,76,0,1672,''),(10032,76,1,1672,''),(10033,75,0,1673,'<h2>Sounds in Sync EdiChart V3</h2>\n<i><span style=\"font-size: 21px;\">EdiChart automates the process of creating dubbing charts for mixers.</span><br /></i><br />EdiChart creates dubbing charts (dubbing logs) of Pro Tools sessions in the form of a PDF file. Clip and marker information is used in conjunction with EdiChart\'s highly customisable interface to create easily readable printouts. An industry proven application, EdiChart has been used on numerous film and television productions worldwide.<br /><br />\n<h3>New In Version 3:</h3><ul><li>Ability to load Pro Tools 10+ (.ptx) session files directly</li><li>Application is now authorised using 2nd generation PACE iLoks</li><li>Now requires Mac OS 10.7+ (Intel only) or Win7/8 (32/64bit)</li></ul><br /><br />\n<h3>EdiChart Features</h3><ul><li>Uses unique print scaling options to economise paper use while printing all data required, including all of region name</li><li>Prints region and marker data using Timecodes or Footages</li><li>Combines Tracks to represent Pro Tools outputs that have been mixed together</li><li>Exports total duration of all regions selected in TC/F+F and seconds. Can be used to calculate total durations of music cues by composer   Example List</li><li>Selects start and end time; first and last track; number of tracks per page; timescale ratios and fonts and colours for each printed element</li><li>Reads TAGs in region and track names to further customise print layout, including legacy TAGs</li><li>Converts any track width (stereo, LCR, 5.1 ...) into a single track</li><li>Sets the Text Encoding (character set) used while loading and saving files, required for compatibility with international characters</li><li>Automatically loads Pro Tools text files with Chinese, Japanese and Korean headers</li><li>Saves and recalls five global user settings</li><li>Compatible with Pro Tools version 5 and above</li></ul>'),(10034,75,1,1673,'<h2>Sounds in Sync EdiChart V3</h2>\n<i><span style=\"font-size: 21px;\">EdiChart automates the process of creating dubbing charts for mixers.</span><br /></i><br />EdiChart creates dubbing charts (dubbing logs) of Pro Tools sessions in the form of a PDF file. Clip and marker information is used in conjunction with EdiChart\'s highly customisable interface to create easily readable printouts. An industry proven application, EdiChart has been used on numerous film and television productions worldwide.<br /><br />\n<h3>New In Version 3:</h3><ul><li>Ability to load Pro Tools 10+ (.ptx) session files directly</li><li>Application is now authorised using 2nd generation PACE iLoks</li><li>Now requires Mac OS 10.7+ (Intel only) or Win7/8 (32/64bit)</li></ul><br /><br />\n<h3>EdiChart Features</h3><ul><li>Uses unique print scaling options to economise paper use while printing all data required, including all of region name</li><li>Prints region and marker data using Timecodes or Footages</li><li>Combines Tracks to represent Pro Tools outputs that have been mixed together</li><li>Exports total duration of all regions selected in TC/F+F and seconds. Can be used to calculate total durations of music cues by composer   Example List</li><li>Selects start and end time; first and last track; number of tracks per page; timescale ratios and fonts and colours for each printed element</li><li>Reads TAGs in region and track names to further customise print layout, including legacy TAGs</li><li>Converts any track width (stereo, LCR, 5.1 ...) into a single track</li><li>Sets the Text Encoding (character set) used while loading and saving files, required for compatibility with international characters</li><li>Automatically loads Pro Tools text files with Chinese, Japanese and Korean headers</li><li>Saves and recalls five global user settings</li><li>Compatible with Pro Tools version 5 and above</li></ul>'),(10035,85,0,1673,'Sounds in Sync EdiChart V3'),(10036,85,1,1673,'Sounds in Sync EdiChart V3'),(10037,76,0,1673,''),(10038,76,1,1673,''),(10039,75,0,1674,'<h1>Sounds in Sync EdiCue V3</h1>\n<i style=\"font-size:16pt;\">Create <span>ADR and Department Notes within Pro Tools easily with EdiCue<br /></span></i><br />\nEdiCue is an application that allows sound editors and supervisors to create ADR cues and department notes within Pro Tools. These cues and notes are generally created after a spotting session and ideally before anyone starts working on the sound for the project - including the scheduling of actors for record.\n<br /><br />\nOnce all cues and notes have been created, EdiCue exports a range of files including ADR scripts and files to aid with the recording process. These files can be loaded into our partner app EdiPrompt while actors are recorded. EdiPrompt displays the cues on-screen and helps automate the recoding process when using Pro Tools.\n<br /><br />\n<h3>What\'s New in EdiCue V3</h3>\n<ul>\n	<li>New 64bit app with updated user interface that is macOS dark mode and HiDPI compatible</li>\n	<li>PDF layouts that can be designed to customise every element including adding logos and selecting which fields to display</li>\n	<li>Controls to style the ADR cue \'Line\' text to bold, italic, underline or set the color of the text</li>\n	<li>A \'Segment List\' to allow cueing of multiple reels or episodes in a single session</li>\n	<li>The option to export PDFs with editable fields so that TBW PDFs can be edited</li>\n	<li>Detail rows in the ADR summary to breakdown each character by Priority, Cue Status, Reason or Reason Category</li>\n	<li>Additional fields in each cue including a new BVox (Breaths and Vocals) checkbox</li>\n	<li>New \'token\' setting fields to customise the contents of the exported filenames and cue numbers</li>\n	<li>Updated Import ADR Data window that automatically aligns the destination fields</li>\n	<li>New PDF data import option to import data from edited fields in an EdiCue PDF. E.g. TBW PDF</li>\n	<li>Production settings file can now be stored in a custom location. E.g. external or network drive</li>\n</ul>\n	<br />\n<h3>Creating Cues in Pro Tools</h3>\nEdiCue has been designed around storing ADR cue and department note data in a Pro Tools session. A separate audio track is created for each character and department, and the data for each cue is stored in a clip or empty clip-group. Data for specific fields are stored within \'tags\' in the track names and clip names. <br /><br />\n\nBy storing the cue data in a Pro Tools session, the timing of each cue can easily be checked and cues can be re-conformed with our application EdiLoad when picture changes occur. These cue tracks can also be shared with other editors or mixers so they can see where ADR will be supplied, or see their supervisor\'s notes in the timeline as they work.\n<br /><br />\n\n\n<h3>Session Interface Window</h3>\nThe EdiCue Session Interface window allows sound supervisors to prepare ADR cues with minimum fuss. Character lines can be copied from a shooting script with a single click (see Script Window below) and if required, the line can be amended while spelling is checked. Attributes like a reason, scene number, priority and notes can then be assigned along with styling the text of the cue before sending the cue data to a Pro Tools clip.<br /><br />\n\n\n<h3>Script Window</h3>\nTo save typing character dialog from scratch, line and scene data can be extracted from standard PDF shooting scripts. The filter controls are used to find a line within the production, or to show just the lines for a specific character and scene. Simply clicking any line arrow button will copy it into the Session Interface window where it can be amended while playing the reference pictures. This work-flow provides a fast and efficient way of creating cues.<br /><br />\n\n\n<h3>Import ADR Cues</h3>\nWhen ADR cues have been created in a third-party application, EdiCue can import this data from either a tab, comma or semicolon delimited text file or an Excel file. When cue numbers are being imported, EdiCue checks that these are all present and unique. <br /><br />\n\nIf the imported data is ready for record, EdiCue can simply export the required files. If the cues need to be amended in some way, they can be exported as an AAF and manipulated in Pro Tools. This provides a valuable way of confirming all cues are correct and allows for cues to be re-conformed for picture updates. If the imported cue data only has a start time, EdiCue can create AAF clips with a default duration so that the end points for each cue can be found in Pro Tools.<br /><br />\n\n\n<h3>Cue Numbers</h3>\nThe configuration of cue numbers is a very important step in creating cue sheets as these link the generated paperwork with the associated recordings. With EdiCue, cue numbers can be customised to contain different elements and count by various methods, depending on the requirements of the production. For most counting methods, EdiCue will also save the last cue numbers generated, so any subsequent exports will create a unique number. <br /><br />\n\nThe cue numbers generated by EdiCue can contain the following production elements: Reel or Episode Number, Picture Version Number, Scene Number, Character ID, Cue counter and any alphanumeric character. <br /><br />\n\nThe cue counter can be assigned to a cue during each export so cues count sequentially, or a custom cue number can be assigned while logging cues so each cue retains the same number, even when cues are inserted or removed.<br /><br />\n\n\n<h3>Export PDFs</h3>\nA range of PDF layouts are provided that can be customised along with the band designs. Set the title, orientation and sort order of each layout. The height of each exported cue is automatically extended for cues with extra-long lines. View sample cue sheets. <br /><br />\n\nThe cue data used to generate the PDFs is also embedded within each PDFs. This data can be used by the studio recording the ADR if they require the data in a different format by loading the PDF into either EdiCue or EdiPrompt.<br /><br />\n\n\n<h3>Additional Exports</h3>\nWhile exporting PDFs, EdiCue can also export a range of files for loading into various cueing systems or recording devices. It can also create a complete ADR cueing session as an AAF with the data stored within EdiCue tags. <br /><br />\n\nIt can create a separate file for each character in the following formats: \n\n<ul>\n	<li>MIDI files: used by EdiPrompt to display text and cues on-screen as well as automate the recording process</li>\n<li>XML/XLS/text files: formatted for ADR Studio, AV Media Pyxis, Colin Broad VS-1, ADR Manager, Sound Master and Euro Taker</li>\n</ul>\n<br />\nIt can also export all cues in a single tab/comma/semicolon delimited text file, XML file, XLS file or SubRip file. SubRip (.srt) files are used to subtitle movies stored as Quicktime files or YouTube movies.<br /><br />'),(10040,75,1,1674,'<h1>Sounds in Sync EdiCue V3</h1>\n<i style=\"font-size:16pt;\">Create <span>ADR and Department Notes within Pro Tools easily with EdiCue<br /></span></i><br />\nEdiCue is an application that allows sound editors and supervisors to create ADR cues and department notes within Pro Tools. These cues and notes are generally created after a spotting session and ideally before anyone starts working on the sound for the project - including the scheduling of actors for record.\n<br /><br />\nOnce all cues and notes have been created, EdiCue exports a range of files including ADR scripts and files to aid with the recording process. These files can be loaded into our partner app EdiPrompt while actors are recorded. EdiPrompt displays the cues on-screen and helps automate the recoding process when using Pro Tools.\n<br /><br />\n<h3>What\'s New in EdiCue V3</h3>\n<ul>\n	<li>New 64bit app with updated user interface that is macOS dark mode and HiDPI compatible</li>\n	<li>PDF layouts that can be designed to customise every element including adding logos and selecting which fields to display</li>\n	<li>Controls to style the ADR cue \'Line\' text to bold, italic, underline or set the color of the text</li>\n	<li>A \'Segment List\' to allow cueing of multiple reels or episodes in a single session</li>\n	<li>The option to export PDFs with editable fields so that TBW PDFs can be edited</li>\n	<li>Detail rows in the ADR summary to breakdown each character by Priority, Cue Status, Reason or Reason Category</li>\n	<li>Additional fields in each cue including a new BVox (Breaths and Vocals) checkbox</li>\n	<li>New \'token\' setting fields to customise the contents of the exported filenames and cue numbers</li>\n	<li>Updated Import ADR Data window that automatically aligns the destination fields</li>\n	<li>New PDF data import option to import data from edited fields in an EdiCue PDF. E.g. TBW PDF</li>\n	<li>Production settings file can now be stored in a custom location. E.g. external or network drive</li>\n</ul>\n	<br />\n<h3>Creating Cues in Pro Tools</h3>\nEdiCue has been designed around storing ADR cue and department note data in a Pro Tools session. A separate audio track is created for each character and department, and the data for each cue is stored in a clip or empty clip-group. Data for specific fields are stored within \'tags\' in the track names and clip names. <br /><br />\n\nBy storing the cue data in a Pro Tools session, the timing of each cue can easily be checked and cues can be re-conformed with our application EdiLoad when picture changes occur. These cue tracks can also be shared with other editors or mixers so they can see where ADR will be supplied, or see their supervisor\'s notes in the timeline as they work.\n<br /><br />\n\n\n<h3>Session Interface Window</h3>\nThe EdiCue Session Interface window allows sound supervisors to prepare ADR cues with minimum fuss. Character lines can be copied from a shooting script with a single click (see Script Window below) and if required, the line can be amended while spelling is checked. Attributes like a reason, scene number, priority and notes can then be assigned along with styling the text of the cue before sending the cue data to a Pro Tools clip.<br /><br />\n\n\n<h3>Script Window</h3>\nTo save typing character dialog from scratch, line and scene data can be extracted from standard PDF shooting scripts. The filter controls are used to find a line within the production, or to show just the lines for a specific character and scene. Simply clicking any line arrow button will copy it into the Session Interface window where it can be amended while playing the reference pictures. This work-flow provides a fast and efficient way of creating cues.<br /><br />\n\n\n<h3>Import ADR Cues</h3>\nWhen ADR cues have been created in a third-party application, EdiCue can import this data from either a tab, comma or semicolon delimited text file or an Excel file. When cue numbers are being imported, EdiCue checks that these are all present and unique. <br /><br />\n\nIf the imported data is ready for record, EdiCue can simply export the required files. If the cues need to be amended in some way, they can be exported as an AAF and manipulated in Pro Tools. This provides a valuable way of confirming all cues are correct and allows for cues to be re-conformed for picture updates. If the imported cue data only has a start time, EdiCue can create AAF clips with a default duration so that the end points for each cue can be found in Pro Tools.<br /><br />\n\n\n<h3>Cue Numbers</h3>\nThe configuration of cue numbers is a very important step in creating cue sheets as these link the generated paperwork with the associated recordings. With EdiCue, cue numbers can be customised to contain different elements and count by various methods, depending on the requirements of the production. For most counting methods, EdiCue will also save the last cue numbers generated, so any subsequent exports will create a unique number. <br /><br />\n\nThe cue numbers generated by EdiCue can contain the following production elements: Reel or Episode Number, Picture Version Number, Scene Number, Character ID, Cue counter and any alphanumeric character. <br /><br />\n\nThe cue counter can be assigned to a cue during each export so cues count sequentially, or a custom cue number can be assigned while logging cues so each cue retains the same number, even when cues are inserted or removed.<br /><br />\n\n\n<h3>Export PDFs</h3>\nA range of PDF layouts are provided that can be customised along with the band designs. Set the title, orientation and sort order of each layout. The height of each exported cue is automatically extended for cues with extra-long lines. View sample cue sheets. <br /><br />\n\nThe cue data used to generate the PDFs is also embedded within each PDFs. This data can be used by the studio recording the ADR if they require the data in a different format by loading the PDF into either EdiCue or EdiPrompt.<br /><br />\n\n\n<h3>Additional Exports</h3>\nWhile exporting PDFs, EdiCue can also export a range of files for loading into various cueing systems or recording devices. It can also create a complete ADR cueing session as an AAF with the data stored within EdiCue tags. <br /><br />\n\nIt can create a separate file for each character in the following formats: \n\n<ul>\n	<li>MIDI files: used by EdiPrompt to display text and cues on-screen as well as automate the recording process</li>\n<li>XML/XLS/text files: formatted for ADR Studio, AV Media Pyxis, Colin Broad VS-1, ADR Manager, Sound Master and Euro Taker</li>\n</ul>\n<br />\nIt can also export all cues in a single tab/comma/semicolon delimited text file, XML file, XLS file or SubRip file. SubRip (.srt) files are used to subtitle movies stored as Quicktime files or YouTube movies.<br /><br />'),(10041,85,0,1674,'Sounds in Sync EdiCue V3'),(10042,85,1,1674,'Sounds in Sync EdiCue V3'),(10043,76,0,1674,''),(10044,76,1,1674,''),(10045,75,0,1675,'Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. We have all been at the mercy of the \"loudness wars\" for over ten years now. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears.\n\nSome of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. One of the more popular techniques is the use of saturation in both the analog and digital domain. Another popular method is clipping the front end of expensive A/D converters.\n\nHowever, both of these methods, while better then peak limiting, have their downfalls. Static saturation curves are not universal in their ability to sound good on all transients. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Both static saturation and clipping have a small window of gain maximizing before audible distortion.\n\nFG-X DYNAMICS RACK\n\nTwo years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio process that could increase the level of a mix without altering the punch and dynamic feel, or make the mix sound squashed and lifeless. They started by researching saturation curves and their effect on various types of transient material. After several months of study and hundreds of listening tests, they made some fascinating discoveries. What they found, was that in order to transparently add level to a mix, a dynamic and intelligent transient saturation system would have to be developed.\n\nNew ADVANCED ALGORITHMS were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. A new algorithm was formed, and the process was named \"Intelligent Transient Preservation\", or ITP.'),(10046,75,1,1675,'Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. We have all been at the mercy of the \"loudness wars\" for over ten years now. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears.\n\nSome of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. One of the more popular techniques is the use of saturation in both the analog and digital domain. Another popular method is clipping the front end of expensive A/D converters.\n\nHowever, both of these methods, while better then peak limiting, have their downfalls. Static saturation curves are not universal in their ability to sound good on all transients. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Both static saturation and clipping have a small window of gain maximizing before audible distortion.\n\nFG-X DYNAMICS RACK\n\nTwo years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio process that could increase the level of a mix without altering the punch and dynamic feel, or make the mix sound squashed and lifeless. They started by researching saturation curves and their effect on various types of transient material. After several months of study and hundreds of listening tests, they made some fascinating discoveries. What they found, was that in order to transparently add level to a mix, a dynamic and intelligent transient saturation system would have to be developed.\n\nNew ADVANCED ALGORITHMS were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. A new algorithm was formed, and the process was named \"Intelligent Transient Preservation\", or ITP.'),(10047,85,0,1675,'Slate Digital FGX Mastering Processor Plug-in'),(10048,85,1,1675,'Slate Digital FGX Mastering Processor Plug-in'),(10049,76,0,1675,''),(10050,76,1,1675,''),(10051,75,0,1676,'SLATE DIGITAL\'s TRIGGER is the next generation drum replacement VST/RTAS/AU plugin. TRIGGER has a phase accurate multi layered triggering engine. This means that in one instance of the plugin, you can seamlessly trigger multiple samples simultaneously such as a close mic sample, stereo overhead sample, and a stereo room mic samples. Or, mix many direct mic samples to develop your own custom unique sounds. \n\nThis multi channel triggering functionality allows the user to recreate the sound of natural drums with real multitracked samples. Each sample layer has parameters for customization such as velocity and dynamic control, attack, sustain, release and independent levels. Other features include 2 detection modes, MIDI in/out, automation of detecting parameters, up to 127 different articulations per instrument, up to 127 velocity layers per instrument and up to 127 alternation hits per velocity layer, and a unique \"Leakage Suppression\" function.'),(10052,75,1,1676,'SLATE DIGITAL\'s TRIGGER is the next generation drum replacement VST/RTAS/AU plugin. TRIGGER has a phase accurate multi layered triggering engine. This means that in one instance of the plugin, you can seamlessly trigger multiple samples simultaneously such as a close mic sample, stereo overhead sample, and a stereo room mic samples. Or, mix many direct mic samples to develop your own custom unique sounds. \n\nThis multi channel triggering functionality allows the user to recreate the sound of natural drums with real multitracked samples. Each sample layer has parameters for customization such as velocity and dynamic control, attack, sustain, release and independent levels. Other features include 2 detection modes, MIDI in/out, automation of detecting parameters, up to 127 different articulations per instrument, up to 127 velocity layers per instrument and up to 127 alternation hits per velocity layer, and a unique \"Leakage Suppression\" function.'),(10053,85,0,1676,'Slate Digital Trigger Platinum Advanced Drum Replacer Plug-in'),(10054,85,1,1676,'Slate Digital Trigger Platinum Advanced Drum Replacer Plug-in'),(10055,76,0,1676,''),(10056,76,1,1676,''),(10057,75,0,1677,'The VCC RC-Tube plugin is an authentic emulation of a classic 1950\'s all tube broadcast console. The RC Tube Channel is intended to be placed on the inserts of your mix channels, and the RC Tube Mixbuss is intended as the first insert on your master fader. Together, this plugin package will recreate the sound of a vintage tube mixer, giving your mix a rich, fat, warm, and deep sound that until now, was unattainable with a 100% digital mixer.\n\nAuthentic Modeling\n\nSlate Digital CTO Fabrice Gabriel employed new state of the art analog modeling techniques to capture the sound of this classic tube mixer in the digital domain. Using the same techniques required to model the four analog consoles in the Virtual Console Collection plugin, Fabrice managed to emulate the exact sonic characteristics in a nonlinear and dynamic way, including such precise details as tube saturation response and crosstalk.\n\nInstant Vibe\n\nBy using the VCC RC-Tube on your mixes, you\'ll get the classic vibe of an analog desk. Your music will come together faster and easier, and the result will be the best sounding mixes that you\'ve heard coming from \"In The Box\".\n\nThe Slate Digital \"RC-Tube\" brings the sound of 1 of the world\'s top analog consoles into your DAW workstation. \"Slate Digital CTO Fabrice Gabriel and I studied this console inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes this console the legend that it is\", says Slate.\n\nRC-Tube consists of two plugins, Virtual Channel and Virtual Mixbuss. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. \"When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer\'s \"sweet spot\", says Slate.\n\n\n\nDetails\n\nThe Slate Digital \"RC-Tube\" brings the sound of 1 of the world\'s top analog consoles into your DAW workstation. \"Slate Digital CTO Fabrice Gabriel and I studied this console inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes this console the legend that it is\", says Slate.\n\nRC-Tube consists of two plugins, Virtual Channel and Virtual Mixbuss. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. \"When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer\'s \"sweet spot\", says Slate.'),(10058,75,1,1677,'The VCC RC-Tube plugin is an authentic emulation of a classic 1950\'s all tube broadcast console. The RC Tube Channel is intended to be placed on the inserts of your mix channels, and the RC Tube Mixbuss is intended as the first insert on your master fader. Together, this plugin package will recreate the sound of a vintage tube mixer, giving your mix a rich, fat, warm, and deep sound that until now, was unattainable with a 100% digital mixer.\n\nAuthentic Modeling\n\nSlate Digital CTO Fabrice Gabriel employed new state of the art analog modeling techniques to capture the sound of this classic tube mixer in the digital domain. Using the same techniques required to model the four analog consoles in the Virtual Console Collection plugin, Fabrice managed to emulate the exact sonic characteristics in a nonlinear and dynamic way, including such precise details as tube saturation response and crosstalk.\n\nInstant Vibe\n\nBy using the VCC RC-Tube on your mixes, you\'ll get the classic vibe of an analog desk. Your music will come together faster and easier, and the result will be the best sounding mixes that you\'ve heard coming from \"In The Box\".\n\nThe Slate Digital \"RC-Tube\" brings the sound of 1 of the world\'s top analog consoles into your DAW workstation. \"Slate Digital CTO Fabrice Gabriel and I studied this console inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes this console the legend that it is\", says Slate.\n\nRC-Tube consists of two plugins, Virtual Channel and Virtual Mixbuss. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. \"When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer\'s \"sweet spot\", says Slate.\n\n\n\nDetails\n\nThe Slate Digital \"RC-Tube\" brings the sound of 1 of the world\'s top analog consoles into your DAW workstation. \"Slate Digital CTO Fabrice Gabriel and I studied this console inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes this console the legend that it is\", says Slate.\n\nRC-Tube consists of two plugins, Virtual Channel and Virtual Mixbuss. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. \"When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer\'s \"sweet spot\", says Slate.'),(10059,85,0,1677,'Slate Digital RC-Tube Plug-in'),(10060,85,1,1677,'Slate Digital RC-Tube Plug-in'),(10061,76,0,1677,''),(10062,76,1,1677,''),(10063,75,0,1678,'RC-TUBE to VCC UPGRADE ONLY'),(10064,75,1,1678,'RC-TUBE to VCC UPGRADE ONLY'),(10065,85,0,1678,'Slate Digital RC-Tube to Virtual Console Collection'),(10066,85,1,1678,'Slate Digital RC-Tube to Virtual Console Collection'),(10067,76,0,1678,''),(10068,76,1,1678,''),(10069,75,0,1679,'TRIGGER EX TRIGGER The Industry Standard Drum Replacer and Sample Library. Phase accurate drum replacement. Six stereo layers of samples Complete control. Comes with Steven Slate EX samples.'),(10070,75,1,1679,'TRIGGER EX TRIGGER The Industry Standard Drum Replacer and Sample Library. Phase accurate drum replacement. Six stereo layers of samples Complete control. Comes with Steven Slate EX samples.'),(10071,85,0,1679,'Slate Digital Trigger EX Plug-in'),(10072,85,1,1679,'Slate Digital Trigger EX Plug-in'),(10073,76,0,1679,''),(10074,76,1,1679,''),(10075,75,0,1680,'TRIGGER EX to PLATINUM UPGRADE TRIGGER The Industry Standard Drum Replacer and Sample Library. Phase accurate drum replacement. Six stereo layers of samples. Complete control. Comes with Steven Slate Platinum samples'),(10076,75,1,1680,'TRIGGER EX to PLATINUM UPGRADE TRIGGER The Industry Standard Drum Replacer and Sample Library. Phase accurate drum replacement. Six stereo layers of samples. Complete control. Comes with Steven Slate Platinum samples'),(10077,85,0,1680,'Slate Digital Trigger EX to Platinum Upgrade'),(10078,85,1,1680,'Slate Digital Trigger EX to Platinum Upgrade'),(10079,76,0,1680,''),(10080,76,1,1680,''),(10081,75,0,1681,'Despite the digital revolution in the audio industry, many of today\'s top commercial albums are still mixed on analog consoles. Audio engineers rely on analog mixing to provide the nonlinear musical qualities that digital mixing does not produce. \"When you mix through an analog desk you get this life and body to the sound that just doesn\'t happen when you mix inside the workstation. The separation and imaging from the analog summing is very apparent, especially when your track count gets high\" remarks mixer Jay Baumgardner (Papa Roach, Evanescence).\n\nOver the past ten years, multiple audio manufacturers have produced simplified analog summing boxes that allow DAW users to get the benefits of analog mixing without having to use a full fledged analog desk. In 2001, Steven Slate made his mark in the analog summing world by commissioning Roll Music Systems to design and manufacture a custom analog summing box that was later named the FOLCROM. The FOLCROM continues to be one of the most popular analog summing boxes on the market, used by mixer Mike Shipley and other top names. Now in 2011, Slate once again stirs up the analog summing world, this time in the digital domain.\n\nProduct Details\n\nThe Slate Digital \"VIRTUAL CONSOLE COLLECTION\" brings the sound of 5 of the world\'s top analog consoles into your DAW workstation. \"Slate Digital CTO Fabrice Gabriel and I studied these consoles inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes these consoles the legends that they are\", says Slate.\n\nThe VIRTUAL CONSOLE COLLECTION consists of two plugins, Virtual Channel and Virtual Mixbuss. Each plugin allows the user to choose from one of five modeled consoles. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. \"When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer\'s \"sweet spot\", says Slate.'),(10082,75,1,1681,'Despite the digital revolution in the audio industry, many of today\'s top commercial albums are still mixed on analog consoles. Audio engineers rely on analog mixing to provide the nonlinear musical qualities that digital mixing does not produce. \"When you mix through an analog desk you get this life and body to the sound that just doesn\'t happen when you mix inside the workstation. The separation and imaging from the analog summing is very apparent, especially when your track count gets high\" remarks mixer Jay Baumgardner (Papa Roach, Evanescence).\n\nOver the past ten years, multiple audio manufacturers have produced simplified analog summing boxes that allow DAW users to get the benefits of analog mixing without having to use a full fledged analog desk. In 2001, Steven Slate made his mark in the analog summing world by commissioning Roll Music Systems to design and manufacture a custom analog summing box that was later named the FOLCROM. The FOLCROM continues to be one of the most popular analog summing boxes on the market, used by mixer Mike Shipley and other top names. Now in 2011, Slate once again stirs up the analog summing world, this time in the digital domain.\n\nProduct Details\n\nThe Slate Digital \"VIRTUAL CONSOLE COLLECTION\" brings the sound of 5 of the world\'s top analog consoles into your DAW workstation. \"Slate Digital CTO Fabrice Gabriel and I studied these consoles inside and out. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes these consoles the legends that they are\", says Slate.\n\nThe VIRTUAL CONSOLE COLLECTION consists of two plugins, Virtual Channel and Virtual Mixbuss. Each plugin allows the user to choose from one of five modeled consoles. Virtual Channel is applied on individual mixing channels. Virtual Mixbuss goes on the first insert of the master fader. \"When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW faders up to find each mixer\'s \"sweet spot\", says Slate.'),(10083,85,0,1681,'Slate Digital Virtual Console Collection'),(10084,85,1,1681,'Slate Digital Virtual Console Collection'),(10085,76,0,1681,''),(10086,76,1,1681,''),(10087,75,0,1682,'Digital recording is now the standard for professional music production. But many engineers and musicians long for the days of analog recording, and for good reason.\n\nAnalog Tape Machines have a SOUND.\n\nBig, fat, warm, deep, rich, and exciting are just some of the terms used to describe what recording onto a piece of magnetic tape sounds like. Most of all, tape is more musical.\n\nTo capture the sound of tape is to capture a living, breathing sound that dynamically reacts to the music going on to it. Slate Digital Chief Technology Officer Fabrice Gabriel utilized his electrical engineering degree as a foundation for his comprehensive study of the physical processes that occur when recording to analog tape through a tape machine. What began with science led to Fabrice’s discovery of the seemingly magical properties of tape and inspired him to create his most advanced, dynamic algorithms yet. Two industry-standard machines were precisely modeled. What followed was a year of critical listening and algorithm tweaking, with some help from the expert ears of Slate Digital CEO, Steven Slate.\n\nThe result is the Virtual Tape Machines plugin. With models of both a 2 inch 16 track from NRG Recording, and a ½ inch 2 track machine from Howie Weinberg Mastering, the VTM will give your mixes an absolutely authentic analog vibe that will take your mixes to the next level. With added dimension, fatness, depth, and warmth, you’ll wonder how you ever mixed without it!'),(10088,75,1,1682,'Digital recording is now the standard for professional music production. But many engineers and musicians long for the days of analog recording, and for good reason.\n\nAnalog Tape Machines have a SOUND.\n\nBig, fat, warm, deep, rich, and exciting are just some of the terms used to describe what recording onto a piece of magnetic tape sounds like. Most of all, tape is more musical.\n\nTo capture the sound of tape is to capture a living, breathing sound that dynamically reacts to the music going on to it. Slate Digital Chief Technology Officer Fabrice Gabriel utilized his electrical engineering degree as a foundation for his comprehensive study of the physical processes that occur when recording to analog tape through a tape machine. What began with science led to Fabrice’s discovery of the seemingly magical properties of tape and inspired him to create his most advanced, dynamic algorithms yet. Two industry-standard machines were precisely modeled. What followed was a year of critical listening and algorithm tweaking, with some help from the expert ears of Slate Digital CEO, Steven Slate.\n\nThe result is the Virtual Tape Machines plugin. With models of both a 2 inch 16 track from NRG Recording, and a ½ inch 2 track machine from Howie Weinberg Mastering, the VTM will give your mixes an absolutely authentic analog vibe that will take your mixes to the next level. With added dimension, fatness, depth, and warmth, you’ll wonder how you ever mixed without it!'),(10089,85,0,1682,'Slate Digital Virtual Tape Machines Plug-in'),(10090,85,1,1682,'Slate Digital Virtual Tape Machines Plug-in'),(10091,76,0,1682,''),(10092,76,1,1682,''),(10093,75,0,1683,'Original black front panel version of C2 compressor. (Two sets of controls and two audio channels, but no sidechain inputs, or crush facility). Popular in UK and US west coast studios.'),(10094,75,1,1683,'Original black front panel version of C2 compressor. (Two sets of controls and two audio channels, but no sidechain inputs, or crush facility). Popular in UK and US west coast studios.'),(10095,85,0,1683,'Smart Research C1 Dual/Stereo Compressor'),(10096,85,1,1683,'Smart Research C1 Dual/Stereo Compressor'),(10097,76,0,1683,''),(10098,76,1,1683,''),(10099,75,0,1684,'The C2 compressor houses two independant mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.\n\nThe characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding punch as the sidechain breathes around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this Musicality adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.'),(10100,75,1,1684,'The C2 compressor houses two independant mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.\n\nThe characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding punch as the sidechain breathes around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this Musicality adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.'),(10101,85,0,1684,'Smart Research C2 Dual/Stereo Compressor'),(10102,85,1,1684,'Smart Research C2 Dual/Stereo Compressor'),(10103,76,0,1684,''),(10104,76,1,1684,''),(10105,75,0,1685,'The C2 compressor houses two independant mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.\n\nThe characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding \'punch\', as the sidechain \'breathes\' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this \'musicality\', adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.'),(10106,75,1,1685,'The C2 compressor houses two independant mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.\n\nThe characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding \'punch\', as the sidechain \'breathes\' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this \'musicality\', adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.'),(10107,85,0,1685,'Smart Research C2M Stereo Compressor'),(10108,85,1,1685,'Smart Research C2M Stereo Compressor'),(10109,76,0,1685,''),(10110,76,1,1685,''),(10111,75,0,1686,'In a normal C2 unit, when in \'Stereo\' mode, the left channel front panel controls become the masters for both the left and right audio paths, and the right hand controls become inactive. Both audio paths are \'sensed\', the result processed, and then acted on equally to eliminate image shift (so a peak on either channel results in the compression of both). By extension of this method, in a multichannel system, the master set of controls can be interlinked to sense and control any number of audio channels where image shift would otherwise be a problem. When stereo or left master mode is selected, the left hand front panel controls become the masters for all channels in the system.\n\nA multichannel system comprises a master C2 or C2M unit, to which is added one additional remote controlled 1RU audio rack per pair of extra channels needed. A four channel system would therefore need one master C2 (or C2M), and one C2R (remote C2). The system can be extended as needed, for more or less channels, or the additional channels unplugged and the master unit used on its own functioning as a normal unit (the only difference being that the sidechain XLR connectors on the rear panel are changed to multipin types for additional control lines to and from the C2R chain). As an example for film mix formats this can be used to build a system with three interlinked channels for L-C-R to avoid image shifting, with surround L-R handled by a second pair of channels. Sub bass can be either processed separately or combined with the surround channels.\n\nThis approach has been adopted for two reasons: first as the most adaptable in allowing for different choices of mix formats and the ability for additional C2R channel capacity to float between control rooms or be purchased as needed, and second because of being able to offer the C2R unit at a more reasonable sale price than a complete unit. In allowing for the above configuration, we have also provided for further customization. The master C2 unit has an external fader input, and we would be happy to discuss any further modifications required.'),(10112,75,1,1686,'In a normal C2 unit, when in \'Stereo\' mode, the left channel front panel controls become the masters for both the left and right audio paths, and the right hand controls become inactive. Both audio paths are \'sensed\', the result processed, and then acted on equally to eliminate image shift (so a peak on either channel results in the compression of both). By extension of this method, in a multichannel system, the master set of controls can be interlinked to sense and control any number of audio channels where image shift would otherwise be a problem. When stereo or left master mode is selected, the left hand front panel controls become the masters for all channels in the system.\n\nA multichannel system comprises a master C2 or C2M unit, to which is added one additional remote controlled 1RU audio rack per pair of extra channels needed. A four channel system would therefore need one master C2 (or C2M), and one C2R (remote C2). The system can be extended as needed, for more or less channels, or the additional channels unplugged and the master unit used on its own functioning as a normal unit (the only difference being that the sidechain XLR connectors on the rear panel are changed to multipin types for additional control lines to and from the C2R chain). As an example for film mix formats this can be used to build a system with three interlinked channels for L-C-R to avoid image shifting, with surround L-R handled by a second pair of channels. Sub bass can be either processed separately or combined with the surround channels.\n\nThis approach has been adopted for two reasons: first as the most adaptable in allowing for different choices of mix formats and the ability for additional C2R channel capacity to float between control rooms or be purchased as needed, and second because of being able to offer the C2R unit at a more reasonable sale price than a complete unit. In allowing for the above configuration, we have also provided for further customization. The master C2 unit has an external fader input, and we would be happy to discuss any further modifications required.'),(10113,85,0,1686,'Smart Research C2R 2-Channel Expander'),(10114,85,1,1686,'Smart Research C2R 2-Channel Expander'),(10115,76,0,1686,''),(10116,76,1,1686,''),(10117,75,0,1687,'Introducing the extraordinary 2BA-221 Mic and Line Module, featuring our remarkable continuously variable impedance microphone preamp. With microphone level, line level, and Hi-Z instrument inputs, the 2BA-221 utilizes separate and individually controlled solid state input controls to mix the microphone input with the Hi-Z or line input into the variable vacuum tube output. Using the variable mic impedance and variable solid state and tube stages gives you unprecedented sonic control of anything you throw at it, be it mic level, line level, or instrument level.'),(10118,75,1,1687,'Introducing the extraordinary 2BA-221 Mic and Line Module, featuring our remarkable continuously variable impedance microphone preamp. With microphone level, line level, and Hi-Z instrument inputs, the 2BA-221 utilizes separate and individually controlled solid state input controls to mix the microphone input with the Hi-Z or line input into the variable vacuum tube output. Using the variable mic impedance and variable solid state and tube stages gives you unprecedented sonic control of anything you throw at it, be it mic level, line level, or instrument level.'),(10119,85,0,1687,'Summit Audio 2BA-221 Mic/Line Preamp'),(10120,85,1,1687,'Summit Audio 2BA-221 Mic/Line Preamp'),(10121,76,0,1687,''),(10122,76,1,1687,''),(10123,75,0,1688,'The hybrid tube/solid state DCL-200 dual channel compressor/limiter is a mainstay of both the live sound and studio environments and has helped shape the sound of countless concerts and albums. Versatile and extremely musical sounding, the DCL-200 uses a soft-knee and program dependent transition characteristic, dual true VU meters, and totally variable controls to deliver the unprecedented sound quality of Summit Audio that is far from sterile without being muddy or pinched.'),(10124,75,1,1688,'The hybrid tube/solid state DCL-200 dual channel compressor/limiter is a mainstay of both the live sound and studio environments and has helped shape the sound of countless concerts and albums. Versatile and extremely musical sounding, the DCL-200 uses a soft-knee and program dependent transition characteristic, dual true VU meters, and totally variable controls to deliver the unprecedented sound quality of Summit Audio that is far from sterile without being muddy or pinched.'),(10125,85,0,1688,'Summit Audio DCL-200 Dual Tube Compressor'),(10126,85,1,1688,'Summit Audio DCL-200 Dual Tube Compressor'),(10127,76,0,1688,''),(10128,76,1,1688,''),(10129,75,0,1689,'Take four of the most intense, flavorful audio processing blocks and fuse them into one master channel strip. Now add the most flexible and easy-to-use routing scheme and a huge array of inputs and outputs. Put it all into one beautifully crafted 2RU steel chassis and it\'s not just art, it\'s Summit Audio\'s ECS-410 Everest. Simply route from the Mz2 switchable tube-transistor preamp to the dual mode Dc1 dynamics module and try some sweet sounding LC passive EQ with the Fe1 EQ. Now send the signal to the switchable dual tube/high voltage transistor Db2 DriveBus output for added color, from subtle to intense, and route each section in and out with the touch of a single button with TouchPatch (tm), the original routing design from Summit Audio. Each sections of the ECS-410 Everest has it\'s own balanced IO as well, so it really is like adding four complete products into your arsenal.'),(10130,75,1,1689,'Take four of the most intense, flavorful audio processing blocks and fuse them into one master channel strip. Now add the most flexible and easy-to-use routing scheme and a huge array of inputs and outputs. Put it all into one beautifully crafted 2RU steel chassis and it\'s not just art, it\'s Summit Audio\'s ECS-410 Everest. Simply route from the Mz2 switchable tube-transistor preamp to the dual mode Dc1 dynamics module and try some sweet sounding LC passive EQ with the Fe1 EQ. Now send the signal to the switchable dual tube/high voltage transistor Db2 DriveBus output for added color, from subtle to intense, and route each section in and out with the touch of a single button with TouchPatch (tm), the original routing design from Summit Audio. Each sections of the ECS-410 Everest has it\'s own balanced IO as well, so it really is like adding four complete products into your arsenal.'),(10131,85,0,1689,'Summit Audio ECS-410 Everest Channel Strip'),(10132,85,1,1689,'Summit Audio ECS-410 Everest Channel Strip'),(10133,76,0,1689,''),(10134,76,1,1689,''),(10135,75,0,1690,'With a focus on rich harmonic content and phase coherency Summit Audio offers the FeQ-50 four band parametric, passive equalizer. With six switch selectable frequencies and 14dB of fully sweepable cut or boost on each of the four bands, the FeQ-50 gives you a musically satisfying sonic experience for your tracking, mixing, and mastering projects. I/O includes a total of four simultaneous outputs, -10dB and +4dB vacuum tube out and â€“10dB and +4dB solid state out. A rich and accessible passive equalizer, the FeQ-50 is simple yet versatile, and is sure to compliment your sound with a dash of flavor unlike any other. Available now for anyone with an ear for quality.'),(10136,75,1,1690,'With a focus on rich harmonic content and phase coherency Summit Audio offers the FeQ-50 four band parametric, passive equalizer. With six switch selectable frequencies and 14dB of fully sweepable cut or boost on each of the four bands, the FeQ-50 gives you a musically satisfying sonic experience for your tracking, mixing, and mastering projects. I/O includes a total of four simultaneous outputs, -10dB and +4dB vacuum tube out and â€“10dB and +4dB solid state out. A rich and accessible passive equalizer, the FeQ-50 is simple yet versatile, and is sure to compliment your sound with a dash of flavor unlike any other. Available now for anyone with an ear for quality.'),(10137,85,0,1690,'Summit Audio FeQ-50 Passive Tube / Solid-State Equalizer'),(10138,85,1,1690,'Summit Audio FeQ-50 Passive Tube / Solid-State Equalizer'),(10139,76,0,1690,''),(10140,76,1,1690,''),(10141,75,0,1691,'The MPC-100A is a single channel tube preamplifier and tube compressor/limiter accepting line, microphone, and Hi-Z input signals. Utilizing both tubes and solid state technology working in sync with the Jensen mic transformer the MPC-100A lends a detailed sound with harmonically complex overtones. \n\nThe ultra-fast compressor is ideal of optimizing signals prior to entering the digital domain. Other features include impedance matching (loading) control on the Hi-Z input so passive guitars and bass pickups have a whole new level of tone control, true VU metering, and multiple outputs. And with three separate gain controls, you have endless tonal variations from clean to saturated for whatever sound you need.'),(10142,75,1,1691,'The MPC-100A is a single channel tube preamplifier and tube compressor/limiter accepting line, microphone, and Hi-Z input signals. Utilizing both tubes and solid state technology working in sync with the Jensen mic transformer the MPC-100A lends a detailed sound with harmonically complex overtones. \n\nThe ultra-fast compressor is ideal of optimizing signals prior to entering the digital domain. Other features include impedance matching (loading) control on the Hi-Z input so passive guitars and bass pickups have a whole new level of tone control, true VU metering, and multiple outputs. And with three separate gain controls, you have endless tonal variations from clean to saturated for whatever sound you need.'),(10143,85,0,1691,'Summit Audio MPC-100A Mic Preamp Compressor'),(10144,85,1,1691,'Summit Audio MPC-100A Mic Preamp Compressor'),(10145,76,0,1691,''),(10146,76,1,1691,''),(10147,75,0,1692,'The TD-100 instrument preamp and tube direct box from Summit Audio features a hybrid signal path utilizing both a discrete transistor input device and a 12AX7A vacuum tube to give your musical instruments the clarity of class A sound with the richness and warmth of vacuum tubes all in 1/2\" rack space. \n\nThis vacuum tube adds a subtle texture and smoothness, a professional sheen to your instrument, which is perfect for both live and studio use. The TD-100 offers both XLR microphone level and 1/4\" TRS line level outputs, plus variable input impedance, polarity switch and ground lift, signal and overdrive LEDs, and even a headphone output for use as a practice device. See what a little Summit Audio can do for you.'),(10148,75,1,1692,'The TD-100 instrument preamp and tube direct box from Summit Audio features a hybrid signal path utilizing both a discrete transistor input device and a 12AX7A vacuum tube to give your musical instruments the clarity of class A sound with the richness and warmth of vacuum tubes all in 1/2\" rack space. \n\nThis vacuum tube adds a subtle texture and smoothness, a professional sheen to your instrument, which is perfect for both live and studio use. The TD-100 offers both XLR microphone level and 1/4\" TRS line level outputs, plus variable input impedance, polarity switch and ground lift, signal and overdrive LEDs, and even a headphone output for use as a practice device. See what a little Summit Audio can do for you.'),(10149,85,0,1692,'Summit Audio TD-100 Instrument Preamp / DI'),(10150,85,1,1692,'Summit Audio TD-100 Instrument Preamp / DI'),(10151,76,0,1692,''),(10152,76,1,1692,''),(10153,75,0,1693,'The Summit Audio Tube Leveling Amplifier is a hybrid of technologies.  It contains both vacuum tube and solid state components.\n\nThis combination of old and new technology produces an incredibly warm and smooth sounding compression device without the inherent disadvantages of the older designs.'),(10154,75,1,1693,'The Summit Audio Tube Leveling Amplifier is a hybrid of technologies.  It contains both vacuum tube and solid state components.\n\nThis combination of old and new technology produces an incredibly warm and smooth sounding compression device without the inherent disadvantages of the older designs.'),(10155,85,0,1693,'Summit Audio TLA-100A Tube Leveling Amplifier / Compressor'),(10156,85,1,1693,'Summit Audio TLA-100A Tube Leveling Amplifier / Compressor'),(10157,76,0,1693,''),(10158,76,1,1693,''),(10159,75,0,1694,'The Summit Audio Tube Leveling Amplifier is a hybrid of technologies.  It contains both vacuum tube and solid state components.\n\nThis combination of old and new technology produces an incredibly warm and smooth sounding compression device without the inherent disadvantages of the older designs.'),(10160,75,1,1694,'The Summit Audio Tube Leveling Amplifier is a hybrid of technologies.  It contains both vacuum tube and solid state components.\n\nThis combination of old and new technology produces an incredibly warm and smooth sounding compression device without the inherent disadvantages of the older designs.'),(10161,85,0,1694,'Summit Audio TLA-50 Tube Leveling Amplifier / Compressor'),(10162,85,1,1694,'Summit Audio TLA-50 Tube Leveling Amplifier / Compressor'),(10163,76,0,1694,''),(10164,76,1,1694,''),(10165,75,0,1695,'The Summit Audio TPA-200B Dual Tube Preamplifier combines the warmth of vacuum tubes with the clear high frequency response of high quality solid state in a package designed to work in a variety of applications. With three input types: microphone input, line level input, and front panel Hi-Z input, the TPA-200B is great studio companion for both tracking and mixing. \n\nUse the TPA-200B™\'s input and output gains to overdrive the tube in any amount, from very clean and clear to a riot of tube fuzz. The Jensen input transformers have an open and airy top end that shines with dynamic and diverse signals, even those with dense frequency content such as voice and electric guitars. The signature sounds of Summit Audioâ€™s TPA-200B is perfect for eradicating sterility from the cold, hard digital world.'),(10166,75,1,1695,'The Summit Audio TPA-200B Dual Tube Preamplifier combines the warmth of vacuum tubes with the clear high frequency response of high quality solid state in a package designed to work in a variety of applications. With three input types: microphone input, line level input, and front panel Hi-Z input, the TPA-200B is great studio companion for both tracking and mixing. \n\nUse the TPA-200B™\'s input and output gains to overdrive the tube in any amount, from very clean and clear to a riot of tube fuzz. The Jensen input transformers have an open and airy top end that shines with dynamic and diverse signals, even those with dense frequency content such as voice and electric guitars. The signature sounds of Summit Audioâ€™s TPA-200B is perfect for eradicating sterility from the cold, hard digital world.'),(10167,85,0,1695,'Summit Audio TPA-200B Dual Tube Preamp'),(10168,85,1,1695,'Summit Audio TPA-200B Dual Tube Preamp'),(10169,76,0,1695,''),(10170,76,1,1695,''),(10171,75,0,1696,'The Sony C-38B is an all-purpose, large diaphragm microphone with a proven track record of reliability in broadcast production, music recording studios, or wherever circumstances demand a combination of powerful performance, versatile operation and simplicity of microphone set up. Ideal for vocal and instrument recording, this microphone is particularly adept at handling loud instruments such as percussion and wind instruments. The condenser element of the C-38B microphone provides dual switchable, omni-directional and uni-directional polar patterns, providing control over the pick up angle for flexibility in any recording senario. A low cut filter switch helps eliminate low frequency noise, and an 8 dB pad switch maximizes gain and reduces distortion noise. With its established performance record, the C-38B microphone continues to be the reliable, affordable choice of recording engineers around the world.'),(10172,75,1,1696,'The Sony C-38B is an all-purpose, large diaphragm microphone with a proven track record of reliability in broadcast production, music recording studios, or wherever circumstances demand a combination of powerful performance, versatile operation and simplicity of microphone set up. Ideal for vocal and instrument recording, this microphone is particularly adept at handling loud instruments such as percussion and wind instruments. The condenser element of the C-38B microphone provides dual switchable, omni-directional and uni-directional polar patterns, providing control over the pick up angle for flexibility in any recording senario. A low cut filter switch helps eliminate low frequency noise, and an 8 dB pad switch maximizes gain and reduces distortion noise. With its established performance record, the C-38B microphone continues to be the reliable, affordable choice of recording engineers around the world.'),(10173,85,0,1696,'Sony C38B Condenser Microphone'),(10174,85,1,1696,'Sony C38B Condenser Microphone'),(10175,76,0,1696,''),(10176,76,1,1696,''),(10177,75,0,1697,'<h2>USED - Sony C800GPAC Tube Condenser Microphone</h2>\n<br /><br />\nExcellent for vocal recording in studios and film post production houses, Sony\'s C-800G Studio Tube Condenser Microphone is designed for the highest possible sound reproduction quality. The C-800G features a high-quality dual large diaphragm for true reproduction of vocal qualities, vacuum tube warm sound quality through a 6AU6 vacuum tube, a unique Peltier-based cooling system to achieve optimum tube operating temperature, and an electronically selectable pick-up pattern (Omni/Uni) for various recording applications. The package includes a power supply (AC-MC800G) and all the necessary accessories.'),(10178,75,1,1697,'<h2>USED - Sony C800GPAC Tube Condenser Microphone</h2>\n<br /><br />\nExcellent for vocal recording in studios and film post production houses, Sony\'s C-800G Studio Tube Condenser Microphone is designed for the highest possible sound reproduction quality. The C-800G features a high-quality dual large diaphragm for true reproduction of vocal qualities, vacuum tube warm sound quality through a 6AU6 vacuum tube, a unique Peltier-based cooling system to achieve optimum tube operating temperature, and an electronically selectable pick-up pattern (Omni/Uni) for various recording applications. The package includes a power supply (AC-MC800G) and all the necessary accessories.'),(10179,85,0,1697,'Sony C800GPAC Tube Condenser Microphone - USED'),(10180,85,1,1697,'Sony C800GPAC Tube Condenser Microphone - USED'),(10181,76,0,1697,''),(10182,76,1,1697,''),(10183,75,0,1698,'<h1>Softube Volume 5 Plug-In Collection</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ultimate collection of Softube\'s</span><i> premium plug-ins, including plug-ins developed with Weiss, Summit Audio, Drawmer, Marshall, Trident, OTO, Doepfer, Fix, and more. Save over $3,000 versus purchasing the individual Softube plug-ins!</i><br /><br />\n\n\nSoftube Volume 5 Plug-in Collection, a hand-picked anthology of exceptional-sounding tools, is a treasure trove of plug-ins available with huge savings over the list prices on the individual components. \n<br /><br />\nVolume 5 features four exquisitely crafted additions: the surgically precise Weiss EQ MP, Amp Room pro audio guitar and bass platform, Marshall Cabinet Collection expansion for Amp Room, and Statement Lead polyphonic synth. And they\'re just a taste of the wealth of high-quality gear that comprises the bundle.<br /><br />\n\nAll the top-notch plug-ins from the previous Volume editions are included in Volume 5. There are component-modeled analog channel strips, compressors & limiters, EQs, effects, reverbs & delays, special processors, amp sims, and instruments that have been created in partnership with industry-leading brands like Summit Audio, Doepfer, Marshall, Drawmer, Trident, OTO, and Fix. And the best-in-class Weiss MM-1 Mastering Maximizer rounds out the set ready to polish whatever it touches to a high shine.\n<br /><br />\nVolume 5 can easily and flawlessly address any studio need while ensuring that every aspect of the process—from composition through production, mixing, and mastering—is handled with the most brilliant sound quality available. An assortment of plug-in gems of this quality and value found in a single collection represents a truly rare opportunity.\n\n<br /><br />\n<h2>New in Volume 5</h2>\n<div>\n	Some of Volume 5\'s crowning jewels are also its latest additions. The sonic surgeon with the golden bands, <b>Weiss EQ MP</b>, is new to this collection. We also welcome <b>Amp Room</b> to this edition. Amp Room is the pro audio guitar and bass platform, designed to be a continuously expanding system. And then there’s <b>Marshall Cabinet Collection,</b> a grouping of eight classic, rare, and hand-wired speaker cabs officially licensed by Marshall. Finally, <b>Statement Lead</b>, a polyphonic synth for contemporary lead sounds that’s rock-solid when it comes to music production and songwriting, rounds out the shiny debut of these amazing assets.\n</div>\n<br />\n<h3><span style=\"background-color: initial;\">Heirloom Pieces: the legacy plug-ins</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	Also included in Softube Volume 5 Plug-in Collection are <b>Bass Amp Room</b> and <b>Vintage Amp Room</b>. These legacy plug-ins come with the assurance that your existing projects are safe when upgrading.<br /><br />\n</div>\n<h3>Softube Volume 5 Includes:</h3>\n<ul style=\"letter-spacing: normal;\">\n</ul>\n<div class=\"col-md-12\">\n	<div class=\"list-striped cols-3\">\n		<ul>\n			<li><b style=\"background-color: initial; letter-spacing: 0px;\">NEW: </b><span style=\"background-color: initial; letter-spacing: 0px;\">Weiss EQ MP</span></li>\n			<li><b>NEW: </b>Amp Room</li>\n			<li><b>NEW:</b> Marshall Cabinet Collection</li>\n			<li><b>NEW:</b> Statement Lead</li>\n			<li>Acoustic Feedback</li>\n			<li>American Class A</li>\n			<li>Drawmer S73 Intelligent Master Processor</li>\n			<li>FET Compressor</li>\n			<li>Fix Flanger and Doubler</li>\n			<li>Fix Phaser</li>\n			<li>Harmonics</li>\n			<li>Heartbeat</li>\n			<li>Marshall Plexi Super Lead 1959</li>\n			<li>Modular</li>\n			<li>Monoment Bass</li>\n			<li>OTO Biscuit</li>\n			<li>Parallels</li>\n			<li>Passive-Active Pack</li>\n			<li>Saturation Knob</li>\n			<li>Spring Reverb</li>\n			<li>Summit Audio EQF-100 Full Range Equalizer</li>\n			<li>Summit Audio Grand Channel</li>\n			<li>Summit Audio TLA-100A Compressor</li>\n			<li>Tape</li>\n			<li>Transient Shaper</li>\n			<li>Trident A-Range</li>\n			<li>TSAR-1 Reverb</li>\n			<li>TSAR-1R Reverb</li>\n			<li>Tube Delay</li>\n			<li>Weiss MM-1 Mastering Maximizer</li>\n		</ul>\n	</div>\n</div>\n<br />'),(10184,75,1,1698,'<h1>Softube Volume 5 Plug-In Collection</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ultimate collection of Softube\'s</span><i> premium plug-ins, including plug-ins developed with Weiss, Summit Audio, Drawmer, Marshall, Trident, OTO, Doepfer, Fix, and more. Save over $3,000 versus purchasing the individual Softube plug-ins!</i><br /><br />\n\n\nSoftube Volume 5 Plug-in Collection, a hand-picked anthology of exceptional-sounding tools, is a treasure trove of plug-ins available with huge savings over the list prices on the individual components. \n<br /><br />\nVolume 5 features four exquisitely crafted additions: the surgically precise Weiss EQ MP, Amp Room pro audio guitar and bass platform, Marshall Cabinet Collection expansion for Amp Room, and Statement Lead polyphonic synth. And they\'re just a taste of the wealth of high-quality gear that comprises the bundle.<br /><br />\n\nAll the top-notch plug-ins from the previous Volume editions are included in Volume 5. There are component-modeled analog channel strips, compressors & limiters, EQs, effects, reverbs & delays, special processors, amp sims, and instruments that have been created in partnership with industry-leading brands like Summit Audio, Doepfer, Marshall, Drawmer, Trident, OTO, and Fix. And the best-in-class Weiss MM-1 Mastering Maximizer rounds out the set ready to polish whatever it touches to a high shine.\n<br /><br />\nVolume 5 can easily and flawlessly address any studio need while ensuring that every aspect of the process—from composition through production, mixing, and mastering—is handled with the most brilliant sound quality available. An assortment of plug-in gems of this quality and value found in a single collection represents a truly rare opportunity.\n\n<br /><br />\n<h2>New in Volume 5</h2>\n<div>\n	Some of Volume 5\'s crowning jewels are also its latest additions. The sonic surgeon with the golden bands, <b>Weiss EQ MP</b>, is new to this collection. We also welcome <b>Amp Room</b> to this edition. Amp Room is the pro audio guitar and bass platform, designed to be a continuously expanding system. And then there’s <b>Marshall Cabinet Collection,</b> a grouping of eight classic, rare, and hand-wired speaker cabs officially licensed by Marshall. Finally, <b>Statement Lead</b>, a polyphonic synth for contemporary lead sounds that’s rock-solid when it comes to music production and songwriting, rounds out the shiny debut of these amazing assets.\n</div>\n<br />\n<h3><span style=\"background-color: initial;\">Heirloom Pieces: the legacy plug-ins</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	Also included in Softube Volume 5 Plug-in Collection are <b>Bass Amp Room</b> and <b>Vintage Amp Room</b>. These legacy plug-ins come with the assurance that your existing projects are safe when upgrading.<br /><br />\n</div>\n<h3>Softube Volume 5 Includes:</h3>\n<ul style=\"letter-spacing: normal;\">\n</ul>\n<div class=\"col-md-12\">\n	<div class=\"list-striped cols-3\">\n		<ul>\n			<li><b style=\"background-color: initial; letter-spacing: 0px;\">NEW: </b><span style=\"background-color: initial; letter-spacing: 0px;\">Weiss EQ MP</span></li>\n			<li><b>NEW: </b>Amp Room</li>\n			<li><b>NEW:</b> Marshall Cabinet Collection</li>\n			<li><b>NEW:</b> Statement Lead</li>\n			<li>Acoustic Feedback</li>\n			<li>American Class A</li>\n			<li>Drawmer S73 Intelligent Master Processor</li>\n			<li>FET Compressor</li>\n			<li>Fix Flanger and Doubler</li>\n			<li>Fix Phaser</li>\n			<li>Harmonics</li>\n			<li>Heartbeat</li>\n			<li>Marshall Plexi Super Lead 1959</li>\n			<li>Modular</li>\n			<li>Monoment Bass</li>\n			<li>OTO Biscuit</li>\n			<li>Parallels</li>\n			<li>Passive-Active Pack</li>\n			<li>Saturation Knob</li>\n			<li>Spring Reverb</li>\n			<li>Summit Audio EQF-100 Full Range Equalizer</li>\n			<li>Summit Audio Grand Channel</li>\n			<li>Summit Audio TLA-100A Compressor</li>\n			<li>Tape</li>\n			<li>Transient Shaper</li>\n			<li>Trident A-Range</li>\n			<li>TSAR-1 Reverb</li>\n			<li>TSAR-1R Reverb</li>\n			<li>Tube Delay</li>\n			<li>Weiss MM-1 Mastering Maximizer</li>\n		</ul>\n	</div>\n</div>\n<br />'),(10185,85,0,1698,'Softube Volume 5 Plug-In Collection'),(10186,85,1,1698,'Softube Volume 5 Plug-In Collection'),(10187,76,0,1698,''),(10188,76,1,1698,''),(10189,75,0,1699,'<h2>Sonnox Broadcast Bundle</h2>\nSonnox Broadcast is a collection of powerful Oxford plug-ins which provide high-quality processing and precision control for broadcast production. Including the renowned Oxford EQ and Dynamics plug-ins, the popular Inflator for maximizing loudness, the preset-packed Oxford Limiter and the SuprEsser for fixing problematic frequencies - Sonnox Broadcast will dramatically improve the quality of virtually any program.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10190,75,1,1699,'<h2>Sonnox Broadcast Bundle</h2>\nSonnox Broadcast is a collection of powerful Oxford plug-ins which provide high-quality processing and precision control for broadcast production. Including the renowned Oxford EQ and Dynamics plug-ins, the popular Inflator for maximizing loudness, the preset-packed Oxford Limiter and the SuprEsser for fixing problematic frequencies - Sonnox Broadcast will dramatically improve the quality of virtually any program.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10191,85,0,1699,'Sonnox Broadcast Bundle'),(10192,85,1,1699,'Sonnox Broadcast Bundle'),(10193,76,0,1699,''),(10194,76,1,1699,''),(10195,75,0,1700,'<h2>Sonnox Broadcast Bundle - HD</h2>\nSonnox Broadcast is a collection of powerful Oxford plug-ins which provide high-quality processing and precision control for broadcast production. Including the renowned Oxford EQ and Dynamics plug-ins, the popular Inflator for maximizing loudness, the preset-packed Oxford Limiter and the SuprEsser for fixing problematic frequencies - Sonnox Broadcast will dramatically improve the quality of virtually any program.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10196,75,1,1700,'<h2>Sonnox Broadcast Bundle - HD</h2>\nSonnox Broadcast is a collection of powerful Oxford plug-ins which provide high-quality processing and precision control for broadcast production. Including the renowned Oxford EQ and Dynamics plug-ins, the popular Inflator for maximizing loudness, the preset-packed Oxford Limiter and the SuprEsser for fixing problematic frequencies - Sonnox Broadcast will dramatically improve the quality of virtually any program.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10197,85,0,1700,'Sonnox Broadcast Bundle - HD'),(10198,85,1,1700,'Sonnox Broadcast Bundle - HD'),(10199,76,0,1700,''),(10200,76,1,1700,''),(10201,75,0,1701,'<h2>Sonnox Oxford Dynamic EQ Plug-in - Native</h2><br />\n	The Sonnox Oxford Dynamic EQ is a powerful and versatile EQ plug-in, providing just the required amount of processing when you need it. 5 bands of the ultra-musical Type-3 EQ curve can be overlapped to bring unparalleled control and characteristic Sonnox transparency to your single sources, instrument groups and 2-bus alike.\n<br /><br />\n	The Dynamic EQ introduces unique features such as the option to engage the effect by onset (transient) detection – very useful when working with drums and percussion. Additionally, mid-side processing can be used to enhance a vocal without affecting side-channel balance or to open up a mix by focusing low end energy in the centre.\n<br /><br />\n	The highly-tweakable space-carving capabilities of the Dynamic EQ will be a welcome addition to your mixing arsenal.\n<br />\n<br />\n<h3>Dynamic EQ Features:</h3>\n<ul>\n	<li>5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type</li>\n	<li>All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors</li>\n	<li>Each band can process and/or detect from mono, stereo, mid or side channels</li>\n	<li>Flexible per-band internal/external side chain controls</li>\n	<li>A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins</li>\n	<li>Flexible upwards/downwards compression and upwards/downwards expansion</li>\n	<li>Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing</li>\n	\n</ul>'),(10202,75,1,1701,'<h2>Sonnox Oxford Dynamic EQ Plug-in - Native</h2><br />\n	The Sonnox Oxford Dynamic EQ is a powerful and versatile EQ plug-in, providing just the required amount of processing when you need it. 5 bands of the ultra-musical Type-3 EQ curve can be overlapped to bring unparalleled control and characteristic Sonnox transparency to your single sources, instrument groups and 2-bus alike.\n<br /><br />\n	The Dynamic EQ introduces unique features such as the option to engage the effect by onset (transient) detection – very useful when working with drums and percussion. Additionally, mid-side processing can be used to enhance a vocal without affecting side-channel balance or to open up a mix by focusing low end energy in the centre.\n<br /><br />\n	The highly-tweakable space-carving capabilities of the Dynamic EQ will be a welcome addition to your mixing arsenal.\n<br />\n<br />\n<h3>Dynamic EQ Features:</h3>\n<ul>\n	<li>5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type</li>\n	<li>All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors</li>\n	<li>Each band can process and/or detect from mono, stereo, mid or side channels</li>\n	<li>Flexible per-band internal/external side chain controls</li>\n	<li>A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins</li>\n	<li>Flexible upwards/downwards compression and upwards/downwards expansion</li>\n	<li>Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing</li>\n	\n</ul>'),(10203,85,0,1701,''),(10204,85,1,1701,''),(10205,76,0,1701,''),(10206,76,1,1701,''),(10207,75,0,1702,'<h2>Sonnox Oxford Dynamic EQ Plug-in - HD</h2><br />\n	The Sonnox Oxford Dynamic EQ is a powerful and versatile EQ plug-in, providing just the required amount of processing when you need it. 5 bands of the ultra-musical Type-3 EQ curve can be overlapped to bring unparalleled control and characteristic Sonnox transparency to your single sources, instrument groups and 2-bus alike.\n<br /><br />\n	The Dynamic EQ introduces unique features such as the option to engage the effect by onset (transient) detection – very useful when working with drums and percussion. Additionally, mid-side processing can be used to enhance a vocal without affecting side-channel balance or to open up a mix by focusing low end energy in the centre.\n<br /><br />\n	The highly-tweakable space-carving capabilities of the Dynamic EQ will be a welcome addition to your mixing arsenal.\n<br />\n<br />\n<h3>Dynamic EQ Features:</h3>\n<ul>\n	<li>5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type</li>\n	<li>All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors</li>\n	<li>Each band can process and/or detect from mono, stereo, mid or side channels</li>\n	<li>Flexible per-band internal/external side chain controls</li>\n	<li>A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins</li>\n	<li>Flexible upwards/downwards compression and upwards/downwards expansion</li>\n	<li>Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing</li>\n	\n</ul>'),(10208,75,1,1702,'<h2>Sonnox Oxford Dynamic EQ Plug-in - HD</h2><br />\n	The Sonnox Oxford Dynamic EQ is a powerful and versatile EQ plug-in, providing just the required amount of processing when you need it. 5 bands of the ultra-musical Type-3 EQ curve can be overlapped to bring unparalleled control and characteristic Sonnox transparency to your single sources, instrument groups and 2-bus alike.\n<br /><br />\n	The Dynamic EQ introduces unique features such as the option to engage the effect by onset (transient) detection – very useful when working with drums and percussion. Additionally, mid-side processing can be used to enhance a vocal without affecting side-channel balance or to open up a mix by focusing low end energy in the centre.\n<br /><br />\n	The highly-tweakable space-carving capabilities of the Dynamic EQ will be a welcome addition to your mixing arsenal.\n<br />\n<br />\n<h3>Dynamic EQ Features:</h3>\n<ul>\n	<li>5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type</li>\n	<li>All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors</li>\n	<li>Each band can process and/or detect from mono, stereo, mid or side channels</li>\n	<li>Flexible per-band internal/external side chain controls</li>\n	<li>A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins</li>\n	<li>Flexible upwards/downwards compression and upwards/downwards expansion</li>\n	<li>Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing</li>\n	\n</ul>'),(10209,85,0,1702,''),(10210,85,1,1702,''),(10211,76,0,1702,''),(10212,76,1,1702,''),(10213,75,0,1703,'<h2>The Ultimate Oxford Plugins Collection</h2>\nThe Oxford Plug-ins have earned a world-class reputation for their high-quality processing, precision control and intuitive graphical interfaces.\nThe Sonnox Elite Collection contains seven powerful mixing plug-ins used by countless professionals all over the world. Don’t waste money or time collecting Oxford plug-ins one by one, save a massive 40% off the individual prices, by purchasing them as the Sonnox Elite Collection.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10214,75,1,1703,'<h2>The Ultimate Oxford Plugins Collection</h2>\nThe Oxford Plug-ins have earned a world-class reputation for their high-quality processing, precision control and intuitive graphical interfaces.\nThe Sonnox Elite Collection contains seven powerful mixing plug-ins used by countless professionals all over the world. Don’t waste money or time collecting Oxford plug-ins one by one, save a massive 40% off the individual prices, by purchasing them as the Sonnox Elite Collection.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10215,85,0,1703,'Sonnox Elite Bundle'),(10216,85,1,1703,'Sonnox Elite Bundle'),(10217,76,0,1703,''),(10218,76,1,1703,''),(10219,75,0,1704,'<h2>Sonnox Elite Bundle - HD</h2>\nThe Oxford Plug-ins have earned a world-class reputation for their high-quality processing, precision control and intuitive graphical interfaces.\nThe Sonnox Elite Collection contains seven powerful mixing plug-ins used by countless professionals all over the world. Don’t waste money or time collecting Oxford plug-ins one by one, save a massive 40% off the individual prices, by purchasing them as the Sonnox Elite Collection.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10220,75,1,1704,'<h2>Sonnox Elite Bundle - HD</h2>\nThe Oxford Plug-ins have earned a world-class reputation for their high-quality processing, precision control and intuitive graphical interfaces.\nThe Sonnox Elite Collection contains seven powerful mixing plug-ins used by countless professionals all over the world. Don’t waste money or time collecting Oxford plug-ins one by one, save a massive 40% off the individual prices, by purchasing them as the Sonnox Elite Collection.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10221,85,0,1704,'Sonnox Elite Bundle - HD'),(10222,85,1,1704,'Sonnox Elite Bundle - HD'),(10223,76,0,1704,''),(10224,76,1,1704,''),(10225,75,0,1705,'<h2>Sonnox Enhance Bundle</h2>\nDo you need that bit extra? Extra loudness, presence, punch? Look no further. The Sonnox Enhance bundle contains three simple-to-use, but incredibly powerful and loud plug-ins, to enhance your mix and give it the energy it deserves to be heard above the rest.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />'),(10226,75,1,1705,'<h2>Sonnox Enhance Bundle</h2>\nDo you need that bit extra? Extra loudness, presence, punch? Look no further. The Sonnox Enhance bundle contains three simple-to-use, but incredibly powerful and loud plug-ins, to enhance your mix and give it the energy it deserves to be heard above the rest.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />'),(10227,85,0,1705,'Sonnox Enhance Bundle'),(10228,85,1,1705,'Sonnox Enhance Bundle'),(10229,76,0,1705,''),(10230,76,1,1705,''),(10231,75,0,1706,'<h2>Sonnox Enhance Bundle - HD</h2>\nDo you need that bit extra? Extra loudness, presence, punch? Look no further. The Sonnox Enhance bundle contains three simple-to-use, but incredibly powerful and loud plug-ins, to enhance your mix and give it the energy it deserves to be heard above the rest.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />'),(10232,75,1,1706,'<h2>Sonnox Enhance Bundle - HD</h2>\nDo you need that bit extra? Extra loudness, presence, punch? Look no further. The Sonnox Enhance bundle contains three simple-to-use, but incredibly powerful and loud plug-ins, to enhance your mix and give it the energy it deserves to be heard above the rest.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)              </li>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                          </li>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />'),(10233,85,0,1706,'Sonnox Enhance Bundle - HD'),(10234,85,1,1706,'Sonnox Enhance Bundle - HD'),(10235,76,0,1706,''),(10236,76,1,1706,''),(10237,75,0,1707,'<h2>Sonnox Essential Bundle</h2>\nIf you want to mix with the same high-end plug-ins used on countless hit records all over the world - the Sonnox Essential collection has the ingredients to polish your mix.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10238,75,1,1707,'<h2>Sonnox Essential Bundle</h2>\nIf you want to mix with the same high-end plug-ins used on countless hit records all over the world - the Sonnox Essential collection has the ingredients to polish your mix.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10239,85,0,1707,'Sonnox Essential Bundle'),(10240,85,1,1707,'Sonnox Essential Bundle'),(10241,76,0,1707,''),(10242,76,1,1707,''),(10243,75,0,1708,'<h2>Sonnox Essential Bundle - HD</h2>\nIf you want to mix with the same high-end plug-ins used on countless hit records all over the world - the Sonnox Essential collection has the ingredients to polish your mix.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10244,75,1,1708,'<h2>Sonnox Essential Bundle - HD</h2>\nIf you want to mix with the same high-end plug-ins used on countless hit records all over the world - the Sonnox Essential collection has the ingredients to polish your mix.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                        </li>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                   </li>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>'),(10245,85,0,1708,'Sonnox Essential Bundle - HD'),(10246,85,1,1708,'Sonnox Essential Bundle - HD'),(10247,76,0,1708,''),(10248,76,1,1708,''),(10249,75,0,1709,'<h1>Sonnox Fraunhofer Pro-Codec Plug-in - Native</h1>\nSonnox Fraunhofer Pro-Codec plugin is designed for the real-time auditioning of audio signals by the Fraunhofer codecs. The Plug-In also provides the ability to record the real-time encoded data to disk (in the form of MP3 and M4A files).\n<br /><br />\nThis enables mixing engineers to produce compensated mixes optimized towards specific target codecs, thereby ensuring maximum fidelity. Similarly, mastering engineers may audition material in the final format, and produce compensated, optimized masters for final encoding and distribution.<br /><br />\nThe included Pro-Codec Manager is a powerful desktop application designed for offline batch encoding, decoding and metadata editing of your encoded files.<br /><br />\n<h3>Fraunhofer Pro-Codec Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">\n	<h3><span style=\"background-color: initial; letter-spacing: 0px; font-size: 16px; font-weight: 400; color: rgb(48, 56, 71);\">Real time auditioning & encoding with glitchless switching</span></h3>\n	</span></li>\n	<li>Supported Codecs:\n	<ul>\n		<li>mp3, Apple AAC iTunes+ (Mac only) AAC-LC, HE-AAC</li>\n		<li>MPEG Surround, AAC-LC & HE-AAC multichannel, HD-AAC </li>\n	</ul>\n	</li>\n	<li>Select up to 5 codecs for simultaneous real-time encode </li>\n	<li>Batch processing using dedicated Manager application</li>\n	<li>Comprehensive metadata editing</li>\n	<li>ABX mode for blind statistical testing</li>\n	<li>DIFF monitoring; listen to effect of codec on input signal</li>\n</ul>\n<br />\nThe primary purpose of the Pro-Codec Plug-In is to provide a way of monitoring your host session material using the highly regarded Fraunhofer encoders, without the need for offline processing. By auditioning and comparing codecs in real-time, the Pro-Codec Plug-In allows you to make executive decisions about the best codecs to use. When this decision is made, bounce your mix/master to WAV/AIFF and encode this file using the included Manager application.\n<br /><br />\nThe latest version of this plug-in also includes the Apple AAC codec (Mac only), which allows users to directly audition audio that has been produced according to the ‘Mastered for iTunes’ specification (also known as ‘iTunes Plus’).\n\n<br /><br />'),(10250,75,1,1709,'<h1>Sonnox Fraunhofer Pro-Codec Plug-in - Native</h1>\nSonnox Fraunhofer Pro-Codec plugin is designed for the real-time auditioning of audio signals by the Fraunhofer codecs. The Plug-In also provides the ability to record the real-time encoded data to disk (in the form of MP3 and M4A files).\n<br /><br />\nThis enables mixing engineers to produce compensated mixes optimized towards specific target codecs, thereby ensuring maximum fidelity. Similarly, mastering engineers may audition material in the final format, and produce compensated, optimized masters for final encoding and distribution.<br /><br />\nThe included Pro-Codec Manager is a powerful desktop application designed for offline batch encoding, decoding and metadata editing of your encoded files.<br /><br />\n<h3>Fraunhofer Pro-Codec Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">\n	<h3><span style=\"background-color: initial; letter-spacing: 0px; font-size: 16px; font-weight: 400; color: rgb(48, 56, 71);\">Real time auditioning & encoding with glitchless switching</span></h3>\n	</span></li>\n	<li>Supported Codecs:\n	<ul>\n		<li>mp3, Apple AAC iTunes+ (Mac only) AAC-LC, HE-AAC</li>\n		<li>MPEG Surround, AAC-LC & HE-AAC multichannel, HD-AAC </li>\n	</ul>\n	</li>\n	<li>Select up to 5 codecs for simultaneous real-time encode </li>\n	<li>Batch processing using dedicated Manager application</li>\n	<li>Comprehensive metadata editing</li>\n	<li>ABX mode for blind statistical testing</li>\n	<li>DIFF monitoring; listen to effect of codec on input signal</li>\n</ul>\n<br />\nThe primary purpose of the Pro-Codec Plug-In is to provide a way of monitoring your host session material using the highly regarded Fraunhofer encoders, without the need for offline processing. By auditioning and comparing codecs in real-time, the Pro-Codec Plug-In allows you to make executive decisions about the best codecs to use. When this decision is made, bounce your mix/master to WAV/AIFF and encode this file using the included Manager application.\n<br /><br />\nThe latest version of this plug-in also includes the Apple AAC codec (Mac only), which allows users to directly audition audio that has been produced according to the ‘Mastered for iTunes’ specification (also known as ‘iTunes Plus’).\n\n<br /><br />'),(10251,85,0,1709,'Sonnox Fraunhofer Pro-Codec Plug-in - Native'),(10252,85,1,1709,'Sonnox Fraunhofer Pro-Codec Plug-in - Native'),(10253,76,0,1709,''),(10254,76,1,1709,''),(10255,75,0,1710,'<h2>Sonnox Live Bundle - For Avid Live Consoles</h2>\n	Sonnox LIVE is a powerful bundle of high quality plug-ins from Sonnox, specifically for use with Avid VENUE and S3L consoles. It includes the legendary Oxford EQ and Dynamics plug-ins, the smooth and versatile Oxford Reverb, TransMod for altering attacks, Inflator for adding presence, and the brand new SuprEsser DS - possibly the most natural sounding de-esser on the market!\n<br /><br />\nSonnox plug-ins have been road-tested on the most demanding of world tours, for the likes of <span style=\"background-color: initial;\">J-Lo, Peter Gabriel and Massive Attack, and deliver a pristine and polished performance at every show!</span>\n<br /><br />\n<h2>Bundle Includes:</h2>\nSonnox LIVE contains 5 plug-ins that support both TDM and AAX DSP formats: EQ, Dynamics, Inflator, TransMod, Reverb\n<br /><br />\nA 6th bonus plug-in is included which is AAX DSP only: SuprEsser DS<br /><br />\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>\n<br />\n<em><strong>IMPORTANT:</strong>\nMac and Native licences are not included in this specially-priced bundle for Avid Live consoles.<br />\nEquivalent bundle including Native and Mac licences would cost £1,056 / $1,674<br />\nUpgrades and cross-grades from Sonnox LIVE are not available.</em>'),(10256,75,1,1710,'<h2>Sonnox Live Bundle - For Avid Live Consoles</h2>\n	Sonnox LIVE is a powerful bundle of high quality plug-ins from Sonnox, specifically for use with Avid VENUE and S3L consoles. It includes the legendary Oxford EQ and Dynamics plug-ins, the smooth and versatile Oxford Reverb, TransMod for altering attacks, Inflator for adding presence, and the brand new SuprEsser DS - possibly the most natural sounding de-esser on the market!\n<br /><br />\nSonnox plug-ins have been road-tested on the most demanding of world tours, for the likes of <span style=\"background-color: initial;\">J-Lo, Peter Gabriel and Massive Attack, and deliver a pristine and polished performance at every show!</span>\n<br /><br />\n<h2>Bundle Includes:</h2>\nSonnox LIVE contains 5 plug-ins that support both TDM and AAX DSP formats: EQ, Dynamics, Inflator, TransMod, Reverb\n<br /><br />\nA 6th bonus plug-in is included which is AAX DSP only: SuprEsser DS<br /><br />\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br />\n<h4>Features</h4>\n<ul>\n	<li>Adds presence and tube-like warmth             </li>\n	<li>Increases perceived loudness of any material   </li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes                    </li>\n</ul>\n<br />\n<h3>Oxford Transmod</h3>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>Accentuates or softens attacks and transients                              </li>\n	<li>Brings instruments forwards or pushes them back in the mix                 </li>\n	<li>Radically changes the dynamics of instruments                              </li>\n	<li>Variable harmonic enhancement for extra punch                              </li>\n	<li>Can have the effect of increasing or decreasing room ambience              </li>\n	<li>Gives life to dull sounding recordings without the artifacts of compression</li>\n</ul>\n<br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>Extremely flexible stereo modelling reverb               </li>\n	<li>Full control over all of its many parameters             </li>\n	<li>Independent control of early reflections and reverb tail </li>\n	<li>Integrated 5-band EQ                                     </li>\n	<li>Over 100 invaluable presets for music and post-production</li>\n</ul>\n<br />\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...\n<br />\n<h4>Features</h4>\n<ul>\n	<li>Highly featured professional De-Esser                                         </li>\n	<li>Linear Phase Dynamic EQ                                                       </li>\n	<li>Transparently controls aggressive frequencies                                 </li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n	<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n	<li>Three different \'Listen\' modes                                                </li>\n	<li>Very easy to use                                                              </li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n	<li>Many creative as well as corrective uses                                      </li>\n	<li>Presets giving good starting points                                           </li>\n</ul>\n<br />\n<em><strong>IMPORTANT:</strong>\nMac and Native licences are not included in this specially-priced bundle for Avid Live consoles.<br />\nEquivalent bundle including Native and Mac licences would cost £1,056 / $1,674<br />\nUpgrades and cross-grades from Sonnox LIVE are not available.</em>'),(10257,85,0,1710,'Sonnox Live Bundle - For Avid Live Consoles'),(10258,85,1,1710,'Sonnox Live Bundle - For Avid Live Consoles'),(10259,76,0,1710,''),(10260,76,1,1710,''),(10261,75,0,1711,'<h2>Sonnox Mastering Bundle - Native</h2>\nThe Sonnox Mastering Bundle is a hand picked selection of Sonnox\'s top Plug-Ins focused on getting the very most from your 2-bus and the files you subsequently deliver.\n<br /><br />\nSculpt tone with pinpoint accuracy, control dynamic range transparently and achieve maximum loudness, density and presence without sacrificing transient detail. Then deliver your music, with full confidence that it conforms to industry accredited true peak levels and that encoded distribution versions won’t be rejected.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford EQ</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\n<div>\n	The Inflator is a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.\n	<br />\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX / AU / VST)</span></li>\n	<li>Adds presence and tube-like warmth</li>\n	<li>Increases perceived loudness of any material</li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Fraunhofer Pro-Codec Plug-in</h3>\n<div>\n	The revolutionary Sonnox Fraunhofer Pro-Codec allows real-time auditioning and comparison of a variety of audio codecs. It has a display that helps analyse codec-induced clipping and noise, and enables real-time compensation for clipping.\n</div>\n<div>\n	The Pro-Codec\'s extensive monitoring tools and built-in encoding/decoding features enable mixes to be optimised for specific target formats, ensuring maximum fidelity for final encoding and distribution.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Integrated into the plug-in are Fraunhofer\'s own AAC and mp3 codecs, including MPEG Surround and multi-channel AAC formats for surround mixing, as well as Apple\'s iTunes+ codec for mixing directly for the Mastered for iTunes programme. (Mac version only).\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The software now includes a stand-alone Manager application, which enables batch processing of multiple files and includes a full metadata editor.\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX / AU / VST)</span></li>\n	<li>Supported Codecs:\n	<ul>\n		<li>mp3, Apple AAC iTunes+ [Mac only], AAC-LC, HE-AAC, and HE-AAC v2</li>\n		<li>MPEG Surround, AAC-LC multi-channel, HE-AAC multi-channel</li>\n		<li>HD-AAC</li>\n	</ul>\n	</li>\n</ul>\n<ul>\n</ul>'),(10262,75,1,1711,'<h2>Sonnox Mastering Bundle - Native</h2>\nThe Sonnox Mastering Bundle is a hand picked selection of Sonnox\'s top Plug-Ins focused on getting the very most from your 2-bus and the files you subsequently deliver.\n<br /><br />\nSculpt tone with pinpoint accuracy, control dynamic range transparently and achieve maximum loudness, density and presence without sacrificing transient detail. Then deliver your music, with full confidence that it conforms to industry accredited true peak levels and that encoded distribution versions won’t be rejected.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford EQ</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\n<div>\n	The Inflator is a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.\n	<br />\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX / AU / VST)</span></li>\n	<li>Adds presence and tube-like warmth</li>\n	<li>Increases perceived loudness of any material</li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX / AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Fraunhofer Pro-Codec Plug-in</h3>\n<div>\n	The revolutionary Sonnox Fraunhofer Pro-Codec allows real-time auditioning and comparison of a variety of audio codecs. It has a display that helps analyse codec-induced clipping and noise, and enables real-time compensation for clipping.\n</div>\n<div>\n	The Pro-Codec\'s extensive monitoring tools and built-in encoding/decoding features enable mixes to be optimised for specific target formats, ensuring maximum fidelity for final encoding and distribution.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Integrated into the plug-in are Fraunhofer\'s own AAC and mp3 codecs, including MPEG Surround and multi-channel AAC formats for surround mixing, as well as Apple\'s iTunes+ codec for mixing directly for the Mastered for iTunes programme. (Mac version only).\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The software now includes a stand-alone Manager application, which enables batch processing of multiple files and includes a full metadata editor.\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX / AU / VST)</span></li>\n	<li>Supported Codecs:\n	<ul>\n		<li>mp3, Apple AAC iTunes+ [Mac only], AAC-LC, HE-AAC, and HE-AAC v2</li>\n		<li>MPEG Surround, AAC-LC multi-channel, HE-AAC multi-channel</li>\n		<li>HD-AAC</li>\n	</ul>\n	</li>\n</ul>\n<ul>\n</ul>'),(10263,85,0,1711,'Sonnox Mastering Bundle - Native'),(10264,85,1,1711,'Sonnox Mastering Bundle - Native'),(10265,76,0,1711,''),(10266,76,1,1711,''),(10267,75,0,1712,'<h2>Sonnox Mastering Bundle - HD</h2>\nThe Sonnox Mastering Bundle is a hand picked selection of Sonnox\'s top Plug-Ins focused on getting the very most from your 2-bus and the files you subsequently deliver.\n<br /><br />\nSculpt tone with pinpoint accuracy, control dynamic range transparently and achieve maximum loudness, density and presence without sacrificing transient detail. Then deliver your music, with full confidence that it conforms to industry accredited true peak levels and that encoded distribution versions won’t be rejected.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford EQ</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX DSP / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX DSP / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\n<div>\n	The Inflator is a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.\n	<br />\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX DSP / AU / VST)</span></li>\n	<li>Adds presence and tube-like warmth</li>\n	<li>Increases perceived loudness of any material</li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Fraunhofer Pro-Codec Plug-in</h3>\n<div>\n	The revolutionary Sonnox Fraunhofer Pro-Codec allows real-time auditioning and comparison of a variety of audio codecs. It has a display that helps analyse codec-induced clipping and noise, and enables real-time compensation for clipping.\n</div>\n<div>\n	The Pro-Codec\'s extensive monitoring tools and built-in encoding/decoding features enable mixes to be optimised for specific target formats, ensuring maximum fidelity for final encoding and distribution.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Integrated into the plug-in are Fraunhofer\'s own AAC and mp3 codecs, including MPEG Surround and multi-channel AAC formats for surround mixing, as well as Apple\'s iTunes+ codec for mixing directly for the Mastered for iTunes programme. (Mac version only).\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The software now includes a stand-alone Manager application, which enables batch processing of multiple files and includes a full metadata editor.\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX DSP / AU / VST)</span></li>\n	<li>Supported Codecs:\n	<ul>\n		<li>mp3, Apple AAC iTunes+ [Mac only], AAC-LC, HE-AAC, and HE-AAC v2</li>\n		<li>MPEG Surround, AAC-LC multi-channel, HE-AAC multi-channel</li>\n		<li>HD-AAC</li>\n	</ul>\n	</li>\n</ul>\n<ul>\n</ul>'),(10268,75,1,1712,'<h2>Sonnox Mastering Bundle - HD</h2>\nThe Sonnox Mastering Bundle is a hand picked selection of Sonnox\'s top Plug-Ins focused on getting the very most from your 2-bus and the files you subsequently deliver.\n<br /><br />\nSculpt tone with pinpoint accuracy, control dynamic range transparently and achieve maximum loudness, density and presence without sacrificing transient detail. Then deliver your music, with full confidence that it conforms to industry accredited true peak levels and that encoded distribution versions won’t be rejected.\n<br /><br />\n<h2>Bundle Includes:</h2>\n<h3>Oxford EQ</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX DSP / AU / VST)            </li>\n	<li>5 band fully parametric EQ                   </li>\n	<li>Variable HF & LF filters up to 36dB/Octave   </li>\n	<li>Algorithm taken directly from the Sony OXF-R3</li>\n	<li>Four different EQ types in one plug-in       </li>\n	<li>Fully de-cramped HF response                 </li>\n	<li>A / B switches (automatable)                 </li>\n	<li>Ultra low noise and distortion               </li>\n</ul>\n<br />\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.\n<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AAX DSP / AU / VST)                               </li>\n	<li>The dynamics section from Sony OXF-R3 console                   </li>\n	<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n	<li>2-Band side chain EQ (with audition function)                   </li>\n	<li>Warmth control for extra presence and tube-like warmth          </li>\n	<li>Three different compressor types (linear and exponential curves)</li>\n	<li>Variable soft knee compressor                                   </li>\n	<li>Separate 5.1 bus compressor (where supported)                   </li>\n	<li>Ultra low noise and distortion                                  </li>\n</ul>\n<br />\n<h3>Oxford Inflator</h3>\n<div>\n	The Inflator is a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.\n	<br />\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX DSP / AU / VST)</span></li>\n	<li>Adds presence and tube-like warmth</li>\n	<li>Increases perceived loudness of any material</li>\n	<li>Provides virtual headroom above digital maximum</li>\n	<li>Direct and band-split modes</li>\n</ul>\n<br />\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. \n<br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n<h4>Features</h4>\n<ul>\n	<li>64-bit compliant (AU / VST)                                                            </li>\n	<li>Enhance section to increase perceived loudness                                         </li>\n	<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n	<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n	<li>Attack, release and variable soft knee controls                                        </li>\n	<li>Comprehensive dither and noise shaping                                                 </li>\n	<li>Complete with many factory presets                                                     </li>\n</ul>\n<br />\n<h3>Fraunhofer Pro-Codec Plug-in</h3>\n<div>\n	The revolutionary Sonnox Fraunhofer Pro-Codec allows real-time auditioning and comparison of a variety of audio codecs. It has a display that helps analyse codec-induced clipping and noise, and enables real-time compensation for clipping.\n</div>\n<div>\n	The Pro-Codec\'s extensive monitoring tools and built-in encoding/decoding features enable mixes to be optimised for specific target formats, ensuring maximum fidelity for final encoding and distribution.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Integrated into the plug-in are Fraunhofer\'s own AAC and mp3 codecs, including MPEG Surround and multi-channel AAC formats for surround mixing, as well as Apple\'s iTunes+ codec for mixing directly for the Mastered for iTunes programme. (Mac version only).\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The software now includes a stand-alone Manager application, which enables batch processing of multiple files and includes a full metadata editor.\n</div>\n<h4>Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64-bit compliant (AAX DSP / AU / VST)</span></li>\n	<li>Supported Codecs:\n	<ul>\n		<li>mp3, Apple AAC iTunes+ [Mac only], AAC-LC, HE-AAC, and HE-AAC v2</li>\n		<li>MPEG Surround, AAC-LC multi-channel, HE-AAC multi-channel</li>\n		<li>HD-AAC</li>\n	</ul>\n	</li>\n</ul>\n<ul>\n</ul>'),(10269,85,0,1712,'Sonnox Mastering Bundle - HD'),(10270,85,1,1712,'Sonnox Mastering Bundle - HD'),(10271,76,0,1712,''),(10272,76,1,1712,''),(10273,75,0,1713,'<h1>Sonnox Oxford Drum Gate</h1>\nThe Sonnox <span style=\"background-color: initial;\">Oxford Drum Gate plug-in solves the problems common with unreliable drum gating using traditional tools; chatter, misdetection, and choked or lost ghost notes. Sonnox Oxford Drum gate features a swift and logical workflow that delivers the fastest, most musical and transparent results available.</span><div><br /></div><div>At the heart of the Drum Gate is intelligent drum-hit detection. First, the Plug-In detects them all with tailor-made transient detection. Then, you simply decide which ones to keep.<br /><br /><span style=\"background-color: initial;\">Oxford Drum Gate uses an intelligent detection algorithm to tell the difference </span><span style=\"background-color: initial;\">between snares, kicks, toms and cymbals, rather than simply gating anything below </span><span style=\"background-color: initial;\">a certain threshold, which means you can get quick, precise results, even on poorly </span><span style=\"background-color: initial;\">recorded material. Furthermore, it employs frequency dependant decay and </span><span style=\"background-color: initial;\">transparent levelling to tidy up performances, and features MIDI output for easy </span><span style=\"background-color: initial;\">drum replacement or reinforcement.</span></div><div><br /></div>\n<h3>Sonnox Oxford Drum Gate Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Precise transient detection and intelligent drum-type matching to effortlessly separate the hits you want to keep from the spill you don\'t.</span></li>\n	<li>Create custom drum profiles to isolate unusual drum types or fix the occasional kick, snare, or tom mismatch.</li>\n	<li>Decay curve which adapts to the velocity of each drum hit, giving you consistent spill reduction on dynamic performances.</li>\n	<li>Spectral decay editor lets you preserve the resonance, ring, or rattle of each drum hit while quickly clamping down on the spill.</li>\n	<li>The leveller\'s dual target and amount controls let you improve level consistency without losing the contrast between loud hits and soft ghost notes.</li>\n	<li>Real-time MIDI output and MIDI file capture, for accurately triggering drum samples.</li>\n</ul><br />\n<h3>Detection</h3>\n\nNeed to reduce spill on a snare track in a dynamic mix of backbeats, ghost notes, and cross stick hits?<br /><br />\n\nNo problem! Just click the Snare button.<br /><br />\n\n \n\n\n<h3>Decay</h3>\n\nTired of fighting abrupt and un-musical gating? Do you want to keep the natural ring of toms and remove the spill around them?<br /><br />\n\nEasy! Use Drum Gate\'s adaptive Decay section to quickly focus on the resonance of each tom, in real-time, according to the velocity of each detected hit.<br /><br />\n\n \n\n\n<h3>Leveller</h3>\n\nWish you could improve the consistency of the drummer\'s performance?<br /><br />\n\nOf course you do! Conform louder main hits and softer background articulations to two separately controlled target level ranges in the Leveller section.<br /><br />\n\n \n\n\n<h3>MIDI</h3>\n\nWant to augment/replace individual drums with samples and confidently retain the dynamics from the original performance?<br /><br />\n\nPiece of cake! It\'s delivered by Drum Gate\'s hit detection and MIDI triggering functionality.<br /><br /><br />'),(10274,75,1,1713,'<h1>Sonnox Oxford Drum Gate</h1>\nThe Sonnox <span style=\"background-color: initial;\">Oxford Drum Gate plug-in solves the problems common with unreliable drum gating using traditional tools; chatter, misdetection, and choked or lost ghost notes. Sonnox Oxford Drum gate features a swift and logical workflow that delivers the fastest, most musical and transparent results available.</span><div><br /></div><div>At the heart of the Drum Gate is intelligent drum-hit detection. First, the Plug-In detects them all with tailor-made transient detection. Then, you simply decide which ones to keep.<br /><br /><span style=\"background-color: initial;\">Oxford Drum Gate uses an intelligent detection algorithm to tell the difference </span><span style=\"background-color: initial;\">between snares, kicks, toms and cymbals, rather than simply gating anything below </span><span style=\"background-color: initial;\">a certain threshold, which means you can get quick, precise results, even on poorly </span><span style=\"background-color: initial;\">recorded material. Furthermore, it employs frequency dependant decay and </span><span style=\"background-color: initial;\">transparent levelling to tidy up performances, and features MIDI output for easy </span><span style=\"background-color: initial;\">drum replacement or reinforcement.</span></div><div><br /></div>\n<h3>Sonnox Oxford Drum Gate Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Precise transient detection and intelligent drum-type matching to effortlessly separate the hits you want to keep from the spill you don\'t.</span></li>\n	<li>Create custom drum profiles to isolate unusual drum types or fix the occasional kick, snare, or tom mismatch.</li>\n	<li>Decay curve which adapts to the velocity of each drum hit, giving you consistent spill reduction on dynamic performances.</li>\n	<li>Spectral decay editor lets you preserve the resonance, ring, or rattle of each drum hit while quickly clamping down on the spill.</li>\n	<li>The leveller\'s dual target and amount controls let you improve level consistency without losing the contrast between loud hits and soft ghost notes.</li>\n	<li>Real-time MIDI output and MIDI file capture, for accurately triggering drum samples.</li>\n</ul><br />\n<h3>Detection</h3>\n\nNeed to reduce spill on a snare track in a dynamic mix of backbeats, ghost notes, and cross stick hits?<br /><br />\n\nNo problem! Just click the Snare button.<br /><br />\n\n \n\n\n<h3>Decay</h3>\n\nTired of fighting abrupt and un-musical gating? Do you want to keep the natural ring of toms and remove the spill around them?<br /><br />\n\nEasy! Use Drum Gate\'s adaptive Decay section to quickly focus on the resonance of each tom, in real-time, according to the velocity of each detected hit.<br /><br />\n\n \n\n\n<h3>Leveller</h3>\n\nWish you could improve the consistency of the drummer\'s performance?<br /><br />\n\nOf course you do! Conform louder main hits and softer background articulations to two separately controlled target level ranges in the Leveller section.<br /><br />\n\n \n\n\n<h3>MIDI</h3>\n\nWant to augment/replace individual drums with samples and confidently retain the dynamics from the original performance?<br /><br />\n\nPiece of cake! It\'s delivered by Drum Gate\'s hit detection and MIDI triggering functionality.<br /><br /><br />'),(10275,85,0,1713,'Sonnox Oxford Drum Gate'),(10276,85,1,1713,'Sonnox Oxford Drum Gate'),(10277,76,0,1713,''),(10278,76,1,1713,''),(10279,75,0,1714,'<h2>Sonnox Oxford Dynamics - Native</h2>\nThe Oxford Dynamics\n\n	    plug-in is modeled on the extremely flexible and capable unit used\n\n	    in the OXF-R3 professional mixing console. Resulting from many years\n\n	    research into professional dynamics applications, it offers separate\n\n	    Compress, Limit, Expand, Gate and side chain EQ functions, with full\n\n	    independent control of all parameters. Features such as selectable\n\n	    time constant curves and variable soft compress functions allow the\n\n	    user to confidently tackle all common uses of compression, from subtle\n\n	    unobtrusive level control and mastering functions to the production\n\n	    of great artistic effects. The use of a feed-forward architecture with\n\n	    logarithmic side chain processing, making use of look-ahead techniques,\n\n	    ensures exemplary sonic characteristics and dynamic accuracy, with\n\n	    an artistic capability simply unavailable from other single units,\n\n	    analogue or digital. This highly sophisticated and professional product\n\n	    has the power and flexibility to obviate the need for many of the separate\n\n	    applications most users keep for specific uses.    <br /><br />\n<h3>Oxford Dynamics Features</h3>\n<div class=\"product-bullets\">\n      \n	   	</div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>The dynamics section from Sony OXF-R3 console</li><li>Separate sections for Compressor, Gate, Expander, Limiter</li><li>2-Band side chain EQ (with audition function)</li><li>Warmth control for extra presence and tube-like warmth</li><li>Three different compressor types (linear and exponential curves)</li><li>Variable soft knee compressor</li><li>Separate 5.1 bus compressor (where supported)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">\n        \n       </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST</div>'),(10280,75,1,1714,'<h2>Sonnox Oxford Dynamics - Native</h2>\nThe Oxford Dynamics\n\n	    plug-in is modeled on the extremely flexible and capable unit used\n\n	    in the OXF-R3 professional mixing console. Resulting from many years\n\n	    research into professional dynamics applications, it offers separate\n\n	    Compress, Limit, Expand, Gate and side chain EQ functions, with full\n\n	    independent control of all parameters. Features such as selectable\n\n	    time constant curves and variable soft compress functions allow the\n\n	    user to confidently tackle all common uses of compression, from subtle\n\n	    unobtrusive level control and mastering functions to the production\n\n	    of great artistic effects. The use of a feed-forward architecture with\n\n	    logarithmic side chain processing, making use of look-ahead techniques,\n\n	    ensures exemplary sonic characteristics and dynamic accuracy, with\n\n	    an artistic capability simply unavailable from other single units,\n\n	    analogue or digital. This highly sophisticated and professional product\n\n	    has the power and flexibility to obviate the need for many of the separate\n\n	    applications most users keep for specific uses.    <br /><br />\n<h3>Oxford Dynamics Features</h3>\n<div class=\"product-bullets\">\n      \n	   	</div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>The dynamics section from Sony OXF-R3 console</li><li>Separate sections for Compressor, Gate, Expander, Limiter</li><li>2-Band side chain EQ (with audition function)</li><li>Warmth control for extra presence and tube-like warmth</li><li>Three different compressor types (linear and exponential curves)</li><li>Variable soft knee compressor</li><li>Separate 5.1 bus compressor (where supported)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">\n        \n       </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST</div>'),(10281,85,0,1714,'Sonnox Oxford Dynamics - Native'),(10282,85,1,1714,'Sonnox Oxford Dynamics - Native'),(10283,76,0,1714,''),(10284,76,1,1714,''),(10285,75,0,1715,'<h2>Sonnox Oxford Dynamics - HD</h2>\nThe Oxford Dynamics\n\n	    plug-in is modeled on the extremely flexible and capable unit used\n\n	    in the OXF-R3 professional mixing console. Resulting from many years\n\n	    research into professional dynamics applications, it offers separate\n\n	    Compress, Limit, Expand, Gate and side chain EQ functions, with full\n\n	    independent control of all parameters. Features such as selectable\n\n	    time constant curves and variable soft compress functions allow the\n\n	    user to confidently tackle all common uses of compression, from subtle\n\n	    unobtrusive level control and mastering functions to the production\n\n	    of great artistic effects. The use of a feed-forward architecture with\n\n	    logarithmic side chain processing, making use of look-ahead techniques,\n\n	    ensures exemplary sonic characteristics and dynamic accuracy, with\n\n	    an artistic capability simply unavailable from other single units,\n\n	    analogue or digital. This highly sophisticated and professional product\n\n	    has the power and flexibility to obviate the need for many of the separate\n\n	    applications most users keep for specific uses.    <br /><br />\n<h3>Oxford Dynamics Features</h3>\n<div class=\"product-bullets\">\n      \n	   	</div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>The dynamics section from Sony OXF-R3 console</li><li>Separate sections for Compressor, Gate, Expander, Limiter</li><li>2-Band side chain EQ (with audition function)</li><li>Warmth control for extra presence and tube-like warmth</li><li>Three different compressor types (linear and exponential curves)</li><li>Variable soft knee compressor</li><li>Separate 5.1 bus compressor (where supported)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">\n        \n       </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX DSP, TDM, Native</div>'),(10286,75,1,1715,'<h2>Sonnox Oxford Dynamics - HD</h2>\nThe Oxford Dynamics\n\n	    plug-in is modeled on the extremely flexible and capable unit used\n\n	    in the OXF-R3 professional mixing console. Resulting from many years\n\n	    research into professional dynamics applications, it offers separate\n\n	    Compress, Limit, Expand, Gate and side chain EQ functions, with full\n\n	    independent control of all parameters. Features such as selectable\n\n	    time constant curves and variable soft compress functions allow the\n\n	    user to confidently tackle all common uses of compression, from subtle\n\n	    unobtrusive level control and mastering functions to the production\n\n	    of great artistic effects. The use of a feed-forward architecture with\n\n	    logarithmic side chain processing, making use of look-ahead techniques,\n\n	    ensures exemplary sonic characteristics and dynamic accuracy, with\n\n	    an artistic capability simply unavailable from other single units,\n\n	    analogue or digital. This highly sophisticated and professional product\n\n	    has the power and flexibility to obviate the need for many of the separate\n\n	    applications most users keep for specific uses.    <br /><br />\n<h3>Oxford Dynamics Features</h3>\n<div class=\"product-bullets\">\n      \n	   	</div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>The dynamics section from Sony OXF-R3 console</li><li>Separate sections for Compressor, Gate, Expander, Limiter</li><li>2-Band side chain EQ (with audition function)</li><li>Warmth control for extra presence and tube-like warmth</li><li>Three different compressor types (linear and exponential curves)</li><li>Variable soft knee compressor</li><li>Separate 5.1 bus compressor (where supported)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">\n        \n       </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX DSP, TDM, Native</div>'),(10287,85,0,1715,'Sonnox Oxford Dynamics - HD'),(10288,85,1,1715,'Sonnox Oxford Dynamics - HD'),(10289,76,0,1715,''),(10290,76,1,1715,''),(10291,75,0,1716,'<h2>Sonnox Oxford Envolution - Native</h2>\nThe Sonnox Oxford Envolution plug-in is a frequency-dependent envelope shaper with separate transient and sustain sections to radically re-shape the envelope of your instruments or audio. It’s fast, accurate and has the hallmark sonic clarity that folks have come to expect from a Sonnox product. \n<br /><br />\nAll music contains transients of some kind; in drums, percussion, guitars and piano to name but a few. Boosting or cutting them allows for greater control of presence in a mix than an EQ or compressor can deliver; making a snare snap to the foreground, or pushing it back to allow other mix elements to sing through. The Oxford Envolution plug-in is an evolution in envelope shaping that delivers both - and much more. Making it as useful in the creation of music, TV, film and broadcast content as it is to games. \n<br /><br />\nUse a broader tilt mode or the more parametric-style focus mode to choose which frequencies are processed.<br /><br />\nInsert on a track, bus or even master output to add presence/distance to drums, piano, guitar and any other percussive content. Boost sustain to make the ambience around a recording bloom, or cut it for quick and precise gating.<br /><br />\nWe love the more creative and extreme side of the plug-in too; like using the DIFF button to generate negative ratio compression effects!<br /><br />\n<h3>Oxford Envolution Features</h3>\n<div class=\"product-bullets\">\n</div>\n<ul>\n	<li><span style=\"background-color: initial;\">Frequency dependent control of Transients & Sustain</span></li>\n	<li>Tilt/parametric targeting of frequencies to process</li>\n	<li>DIFF button to solo the effect</li>\n	<li>Use in parallel without phase cancellation</li>\n	<li>Warmth control for:\n	<ul>\n		<li>Harmonic saturation/tone shaping </li>\n		<li>Prevention of excessive output levels </li>\n	</ul>\n	</li>\n	<li>Many great presets to get you started</li>\n</ul>\n<br />\n<h3>What people are saying about Envolution:</h3>\n<blockquote>\n	\"This will be my main weapon for 2016 - absolutely love it!!!!!\"\n	<br />\n	<strong>Stonebridge</strong><br />\n	<br /><br />\n	\"I can change envelopes as I might do in the sampler if I had full access to the source material!\" <br />\n	<strong>Jonathan Campbell</strong><br />\n	<br /><br />\n	\"Holy cow is this a amazingly innovative plug-in! I\'m hooked already. It\'s insane what it does to drums and just about anything you throw at it!\" <br />\n	<strong>Pete Moshay</strong><br />\n	<br /><br />\n	\"WOW!!! I’m seriously impressed with Envolution - from the comprehensive controls and the intelligent frequency selectors, to the gorgeous GUI!\"<br />\n	<strong>Simon Morrison </strong><br />\n	<br /><br />\n	\"Envolution is badass! EDM guys will chew this one up!\"<br />\n	<strong>Rich Tozzoli</strong><br />\n</blockquote>\n<br /><br />\n<h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>\n<div>\n	AAX Native, Audio Units and VST\n</div>'),(10292,75,1,1716,'<h2>Sonnox Oxford Envolution - Native</h2>\nThe Sonnox Oxford Envolution plug-in is a frequency-dependent envelope shaper with separate transient and sustain sections to radically re-shape the envelope of your instruments or audio. It’s fast, accurate and has the hallmark sonic clarity that folks have come to expect from a Sonnox product. \n<br /><br />\nAll music contains transients of some kind; in drums, percussion, guitars and piano to name but a few. Boosting or cutting them allows for greater control of presence in a mix than an EQ or compressor can deliver; making a snare snap to the foreground, or pushing it back to allow other mix elements to sing through. The Oxford Envolution plug-in is an evolution in envelope shaping that delivers both - and much more. Making it as useful in the creation of music, TV, film and broadcast content as it is to games. \n<br /><br />\nUse a broader tilt mode or the more parametric-style focus mode to choose which frequencies are processed.<br /><br />\nInsert on a track, bus or even master output to add presence/distance to drums, piano, guitar and any other percussive content. Boost sustain to make the ambience around a recording bloom, or cut it for quick and precise gating.<br /><br />\nWe love the more creative and extreme side of the plug-in too; like using the DIFF button to generate negative ratio compression effects!<br /><br />\n<h3>Oxford Envolution Features</h3>\n<div class=\"product-bullets\">\n</div>\n<ul>\n	<li><span style=\"background-color: initial;\">Frequency dependent control of Transients & Sustain</span></li>\n	<li>Tilt/parametric targeting of frequencies to process</li>\n	<li>DIFF button to solo the effect</li>\n	<li>Use in parallel without phase cancellation</li>\n	<li>Warmth control for:\n	<ul>\n		<li>Harmonic saturation/tone shaping </li>\n		<li>Prevention of excessive output levels </li>\n	</ul>\n	</li>\n	<li>Many great presets to get you started</li>\n</ul>\n<br />\n<h3>What people are saying about Envolution:</h3>\n<blockquote>\n	\"This will be my main weapon for 2016 - absolutely love it!!!!!\"\n	<br />\n	<strong>Stonebridge</strong><br />\n	<br /><br />\n	\"I can change envelopes as I might do in the sampler if I had full access to the source material!\" <br />\n	<strong>Jonathan Campbell</strong><br />\n	<br /><br />\n	\"Holy cow is this a amazingly innovative plug-in! I\'m hooked already. It\'s insane what it does to drums and just about anything you throw at it!\" <br />\n	<strong>Pete Moshay</strong><br />\n	<br /><br />\n	\"WOW!!! I’m seriously impressed with Envolution - from the comprehensive controls and the intelligent frequency selectors, to the gorgeous GUI!\"<br />\n	<strong>Simon Morrison </strong><br />\n	<br /><br />\n	\"Envolution is badass! EDM guys will chew this one up!\"<br />\n	<strong>Rich Tozzoli</strong><br />\n</blockquote>\n<br /><br />\n<h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>\n<div>\n	AAX Native, Audio Units and VST\n</div>'),(10293,85,0,1716,'Sonnox Oxford Envolution - Native'),(10294,85,1,1716,'Sonnox Oxford Envolution - Native'),(10295,76,0,1716,''),(10296,76,1,1716,''),(10297,75,0,1717,'<h2>Sonnox Oxford Envolution - HD</h2>\nThe Sonnox Oxford Envolution plug-in is a frequency-dependent envelope shaper with separate transient and sustain sections to radically re-shape the envelope of your instruments or audio. It’s fast, accurate and has the hallmark sonic clarity that folks have come to expect from a Sonnox product. \n<br /><br />\nAll music contains transients of some kind; in drums, percussion, guitars and piano to name but a few. Boosting or cutting them allows for greater control of presence in a mix than an EQ or compressor can deliver; making a snare snap to the foreground, or pushing it back to allow other mix elements to sing through. The Oxford Envolution plug-in is an evolution in envelope shaping that delivers both - and much more. Making it as useful in the creation of music, TV, film and broadcast content as it is to games. \n<br /><br />\nUse a broader tilt mode or the more parametric-style focus mode to choose which frequencies are processed.<br /><br />\nInsert on a track, bus or even master output to add presence/distance to drums, piano, guitar and any other percussive content. Boost sustain to make the ambience around a recording bloom, or cut it for quick and precise gating.<br /><br />\nWe love the more creative and extreme side of the plug-in too; like using the DIFF button to generate negative ratio compression effects!<br /><br />\n<h3>Oxford Envolution Features</h3>\n<div class=\"product-bullets\">\n</div>\n<ul>\n	<li><span style=\"background-color: initial;\">Frequency dependent control of Transients & Sustain</span></li>\n	<li>Tilt/parametric targeting of frequencies to process</li>\n	<li>DIFF button to solo the effect</li>\n	<li>Use in parallel without phase cancellation</li>\n	<li>Warmth control for:\n	<ul>\n		<li>Harmonic saturation/tone shaping </li>\n		<li>Prevention of excessive output levels </li>\n	</ul>\n	</li>\n	<li>Many great presets to get you started</li>\n</ul>\n<br />\n<h3>What people are saying about Envolution:</h3>\n<blockquote>\n	\"This will be my main weapon for 2016 - absolutely love it!!!!!\"\n	<br />\n	<strong>Stonebridge</strong><br />\n	<br /><br />\n	\"I can change envelopes as I might do in the sampler if I had full access to the source material!\" <br />\n	<strong>Jonathan Campbell</strong><br />\n	<br /><br />\n	\"Holy cow is this a amazingly innovative plug-in! I\'m hooked already. It\'s insane what it does to drums and just about anything you throw at it!\" <br />\n	<strong>Pete Moshay</strong><br />\n	<br /><br />\n	\"WOW!!! I’m seriously impressed with Envolution - from the comprehensive controls and the intelligent frequency selectors, to the gorgeous GUI!\"<br />\n	<strong>Simon Morrison </strong><br />\n	<br /><br />\n	\"Envolution is badass! EDM guys will chew this one up!\"<br />\n	<strong>Rich Tozzoli</strong><br />\n</blockquote>\n<br /><br />\n<h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>\n<div>\n	Pro Tools AAX DSP, Native\n</div>'),(10298,75,1,1717,'<h2>Sonnox Oxford Envolution - HD</h2>\nThe Sonnox Oxford Envolution plug-in is a frequency-dependent envelope shaper with separate transient and sustain sections to radically re-shape the envelope of your instruments or audio. It’s fast, accurate and has the hallmark sonic clarity that folks have come to expect from a Sonnox product. \n<br /><br />\nAll music contains transients of some kind; in drums, percussion, guitars and piano to name but a few. Boosting or cutting them allows for greater control of presence in a mix than an EQ or compressor can deliver; making a snare snap to the foreground, or pushing it back to allow other mix elements to sing through. The Oxford Envolution plug-in is an evolution in envelope shaping that delivers both - and much more. Making it as useful in the creation of music, TV, film and broadcast content as it is to games. \n<br /><br />\nUse a broader tilt mode or the more parametric-style focus mode to choose which frequencies are processed.<br /><br />\nInsert on a track, bus or even master output to add presence/distance to drums, piano, guitar and any other percussive content. Boost sustain to make the ambience around a recording bloom, or cut it for quick and precise gating.<br /><br />\nWe love the more creative and extreme side of the plug-in too; like using the DIFF button to generate negative ratio compression effects!<br /><br />\n<h3>Oxford Envolution Features</h3>\n<div class=\"product-bullets\">\n</div>\n<ul>\n	<li><span style=\"background-color: initial;\">Frequency dependent control of Transients & Sustain</span></li>\n	<li>Tilt/parametric targeting of frequencies to process</li>\n	<li>DIFF button to solo the effect</li>\n	<li>Use in parallel without phase cancellation</li>\n	<li>Warmth control for:\n	<ul>\n		<li>Harmonic saturation/tone shaping </li>\n		<li>Prevention of excessive output levels </li>\n	</ul>\n	</li>\n	<li>Many great presets to get you started</li>\n</ul>\n<br />\n<h3>What people are saying about Envolution:</h3>\n<blockquote>\n	\"This will be my main weapon for 2016 - absolutely love it!!!!!\"\n	<br />\n	<strong>Stonebridge</strong><br />\n	<br /><br />\n	\"I can change envelopes as I might do in the sampler if I had full access to the source material!\" <br />\n	<strong>Jonathan Campbell</strong><br />\n	<br /><br />\n	\"Holy cow is this a amazingly innovative plug-in! I\'m hooked already. It\'s insane what it does to drums and just about anything you throw at it!\" <br />\n	<strong>Pete Moshay</strong><br />\n	<br /><br />\n	\"WOW!!! I’m seriously impressed with Envolution - from the comprehensive controls and the intelligent frequency selectors, to the gorgeous GUI!\"<br />\n	<strong>Simon Morrison </strong><br />\n	<br /><br />\n	\"Envolution is badass! EDM guys will chew this one up!\"<br />\n	<strong>Rich Tozzoli</strong><br />\n</blockquote>\n<br /><br />\n<h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>\n<div>\n	Pro Tools AAX DSP, Native\n</div>'),(10299,85,0,1717,'Sonnox Oxford Envolution - Native'),(10300,85,1,1717,'Sonnox Oxford Envolution - Native'),(10301,76,0,1717,''),(10302,76,1,1717,''),(10303,75,0,1718,'<h2>Sonnox Oxford EQ - Native</h2>\nThe renowned Oxford EQ  is based on the original EQ  section of the Sony\n OXF-R3 large format digital mixing console. It is a 5-band  EQ with \nselectable shelf settings on LF and HF sections. Additionally, separate \n variable slope low pass and high pass filters are provided. The Oxford \nEQ also  features four different EQ curves that cover a broad array of \nstyles, including  some legacy styles which are renowned for their \nartistic capability. The use of  novel coefficient generation and \nintelligent processing design provides  unparalleled performance that \nsurpasses analogue EQ in both sound quality and  artistic freedom. The \nOxford EQ truly is four equalisers in one plug-in and  will provide all \nthe EQ you’ll ever  need!<br /><br />\n<h3>Oxford EQ Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>5 band fully parametric EQ  </li><li>Variable HF & LF filters up to 36dB/Octave</li><li>Algorithm taken directly from the Sony OXF-R3 </li><li>Four different EQ types in one plug-in</li><li>Fully de-cramped HF response</li><li>A / B switches (automatable)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">         \n	    </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST</div>'),(10304,75,1,1718,'<h2>Sonnox Oxford EQ - Native</h2>\nThe renowned Oxford EQ  is based on the original EQ  section of the Sony\n OXF-R3 large format digital mixing console. It is a 5-band  EQ with \nselectable shelf settings on LF and HF sections. Additionally, separate \n variable slope low pass and high pass filters are provided. The Oxford \nEQ also  features four different EQ curves that cover a broad array of \nstyles, including  some legacy styles which are renowned for their \nartistic capability. The use of  novel coefficient generation and \nintelligent processing design provides  unparalleled performance that \nsurpasses analogue EQ in both sound quality and  artistic freedom. The \nOxford EQ truly is four equalisers in one plug-in and  will provide all \nthe EQ you’ll ever  need!<br /><br />\n<h3>Oxford EQ Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>5 band fully parametric EQ  </li><li>Variable HF & LF filters up to 36dB/Octave</li><li>Algorithm taken directly from the Sony OXF-R3 </li><li>Four different EQ types in one plug-in</li><li>Fully de-cramped HF response</li><li>A / B switches (automatable)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">         \n	    </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST</div>'),(10305,85,0,1718,'Sonnox Oxford EQ - Native'),(10306,85,1,1718,'Sonnox Oxford EQ - Native'),(10307,76,0,1718,''),(10308,76,1,1718,''),(10309,75,0,1719,'<h2>Sonnox Oxford EQ - HD</h2>\nThe renowned Oxford EQ  is based on the original EQ  section of the Sony\n OXF-R3 large format digital mixing console. It is a 5-band  EQ with \nselectable shelf settings on LF and HF sections. Additionally, separate \n variable slope low pass and high pass filters are provided. The Oxford \nEQ also  features four different EQ curves that cover a broad array of \nstyles, including  some legacy styles which are renowned for their \nartistic capability. The use of  novel coefficient generation and \nintelligent processing design provides  unparalleled performance that \nsurpasses analogue EQ in both sound quality and  artistic freedom. The \nOxford EQ truly is four equalisers in one plug-in and  will provide all \nthe EQ you’ll ever  need!<br /><br /><h3>Oxford EQ Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>5 band fully parametric EQ  </li><li>Variable HF & LF filters up to 36dB/Octave</li><li>Algorithm taken directly from the Sony OXF-R3 </li><li>Four different EQ types in one plug-in</li><li>Fully de-cramped HF response</li><li>A / B switches (automatable)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">         \n	    </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div> Pro Tools AAX DSP, TDM, Native<br /></div>'),(10310,75,1,1719,'<h2>Sonnox Oxford EQ - HD</h2>\nThe renowned Oxford EQ  is based on the original EQ  section of the Sony\n OXF-R3 large format digital mixing console. It is a 5-band  EQ with \nselectable shelf settings on LF and HF sections. Additionally, separate \n variable slope low pass and high pass filters are provided. The Oxford \nEQ also  features four different EQ curves that cover a broad array of \nstyles, including  some legacy styles which are renowned for their \nartistic capability. The use of  novel coefficient generation and \nintelligent processing design provides  unparalleled performance that \nsurpasses analogue EQ in both sound quality and  artistic freedom. The \nOxford EQ truly is four equalisers in one plug-in and  will provide all \nthe EQ you’ll ever  need!<br /><br /><h3>Oxford EQ Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>5 band fully parametric EQ  </li><li>Variable HF & LF filters up to 36dB/Octave</li><li>Algorithm taken directly from the Sony OXF-R3 </li><li>Four different EQ types in one plug-in</li><li>Fully de-cramped HF response</li><li>A / B switches (automatable)</li><li>Ultra low noise and distortion</li></ul><div class=\"product-bullets\">         \n	    </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div> Pro Tools AAX DSP, TDM, Native<br /></div>'),(10311,85,0,1719,'Sonnox Oxford EQ - HD'),(10312,85,1,1719,'Sonnox Oxford EQ - HD'),(10313,76,0,1719,''),(10314,76,1,1719,''),(10315,75,0,1720,'<h2>Sonnox Oxford Inflator - Native</h2>\n\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br /><br /><h3>Oxford Inflator Features</h3>\n<div class=\"product-bullets\">\n      \n	   </div><ul><li> 64-bit compliant   (AAX / AU / VST)</li><li> Adds presence and tube-like warmth </li><li> Increases perceived loudness of any material</li><li> Provides virtual headroom above digital maximum</li><li> Direct and band-split modes   </li></ul><div class=\"product-bullets\">\n       \n      </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST\n            </div>'),(10316,75,1,1720,'<h2>Sonnox Oxford Inflator - Native</h2>\n\nThe Inflator is a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.<br /><br />\nUse the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.<br /><br /><h3>Oxford Inflator Features</h3>\n<div class=\"product-bullets\">\n      \n	   </div><ul><li> 64-bit compliant   (AAX / AU / VST)</li><li> Adds presence and tube-like warmth </li><li> Increases perceived loudness of any material</li><li> Provides virtual headroom above digital maximum</li><li> Direct and band-split modes   </li></ul><div class=\"product-bullets\">\n       \n      </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST\n            </div>'),(10317,85,0,1720,'Sonnox Oxford Inflator - Native'),(10318,85,1,1720,'Sonnox Oxford Inflator - Native'),(10319,76,0,1720,''),(10320,76,1,1720,''),(10321,75,0,1721,'<h2>Sonnox Oxford Inflator - HD</h2>\n\nThe Inflator is a unique process that can provide an increase in the \napparent loudness of almost any program, without obvious loss of quality\n or audible reduction of dynamic range, yet avoiding damaging increases \nin the peak level of the signal. The inflator process can also bring \npower, presence and warmth to program material and even provide headroom\n overload margin above digital maximum with a subtlety and musical \ncharacter reminiscent of tube systems.<br /><br />\nUse the Inflator to produce louder mixes than you thought possible \nwithout overloads or compression pumping, or use it to add natural \nwarmth and character to acoustic or jazz mixes.<br /><br /><h3>Oxford Inflator Features</h3>\n<div class=\"product-bullets\">\n      \n	   </div><ul><li> 64-bit compliant   (AAX / AU / VST)</li><li> Adds presence and tube-like warmth </li><li> Increases perceived loudness of any material</li><li> Provides virtual headroom above digital maximum</li><li> Direct and band-split modes   </li></ul><div class=\"product-bullets\">\n       \n      </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX DSP, TDM, Native</div>'),(10322,75,1,1721,'<h2>Sonnox Oxford Inflator - HD</h2>\n\nThe Inflator is a unique process that can provide an increase in the \napparent loudness of almost any program, without obvious loss of quality\n or audible reduction of dynamic range, yet avoiding damaging increases \nin the peak level of the signal. The inflator process can also bring \npower, presence and warmth to program material and even provide headroom\n overload margin above digital maximum with a subtlety and musical \ncharacter reminiscent of tube systems.<br /><br />\nUse the Inflator to produce louder mixes than you thought possible \nwithout overloads or compression pumping, or use it to add natural \nwarmth and character to acoustic or jazz mixes.<br /><br /><h3>Oxford Inflator Features</h3>\n<div class=\"product-bullets\">\n      \n	   </div><ul><li> 64-bit compliant   (AAX / AU / VST)</li><li> Adds presence and tube-like warmth </li><li> Increases perceived loudness of any material</li><li> Provides virtual headroom above digital maximum</li><li> Direct and band-split modes   </li></ul><div class=\"product-bullets\">\n       \n      </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX DSP, TDM, Native</div>'),(10323,85,0,1721,'Sonnox Oxford Inflator - HD'),(10324,85,1,1721,'Sonnox Oxford Inflator - HD'),(10325,76,0,1721,''),(10326,76,1,1721,''),(10327,75,0,1722,'<h2>Sonnox Oxford Limiter - Native</h2>\n\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br /><br /><h3>Oxford Limiter Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AU / VST)</li><li>Enhance section to increase perceived loudness</li><li>Reconstruction meter shows ‘actual’ signal rather than sampled signal </li><li>Auto compensate feature corrects recon errors without losing overall programme loudness</li><li>Attack, release and variable soft knee controls</li><li>Comprehensive dither and noise shaping</li><li>Complete with many factory presets</li></ul><div class=\"product-bullets\">\n\n</div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX Native, RTAS,  Audio Units and VST</div>'),(10328,75,1,1722,'<h2>Sonnox Oxford Limiter - Native</h2>\n\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br /><br /><h3>Oxford Limiter Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AU / VST)</li><li>Enhance section to increase perceived loudness</li><li>Reconstruction meter shows ‘actual’ signal rather than sampled signal </li><li>Auto compensate feature corrects recon errors without losing overall programme loudness</li><li>Attack, release and variable soft knee controls</li><li>Comprehensive dither and noise shaping</li><li>Complete with many factory presets</li></ul><div class=\"product-bullets\">\n\n</div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX Native, RTAS,  Audio Units and VST</div>'),(10329,85,0,1722,'Sonnox Oxford Limiter'),(10330,85,1,1722,'Sonnox Oxford Limiter'),(10331,76,0,1722,''),(10332,76,1,1722,''),(10333,75,0,1723,'<h2>Sonnox Oxford Limiter - HD</h2>\n\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions.<br /><br /> \nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br /><br /><h3>Oxford Limiter Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AU / VST)</li><li>Enhance section to increase perceived loudness</li><li>Reconstruction meter shows ‘actual’ signal rather than sampled signal </li><li>Auto compensate feature corrects recon errors without losing overall programme loudness</li><li>Attack, release and variable soft knee controls</li><li>Comprehensive dither and noise shaping</li><li>Complete with many factory presets</li></ul><div class=\"product-bullets\">\n\n</div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX DSP, TDM, Native</div>'),(10334,75,1,1723,'<h2>Sonnox Oxford Limiter - HD</h2>\n\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions.<br /><br /> \nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br /><br /><h3>Oxford Limiter Features</h3>\n<div class=\"product-bullets\">\n\n	   	  </div><ul><li>64-bit compliant (AU / VST)</li><li>Enhance section to increase perceived loudness</li><li>Reconstruction meter shows ‘actual’ signal rather than sampled signal </li><li>Auto compensate feature corrects recon errors without losing overall programme loudness</li><li>Attack, release and variable soft knee controls</li><li>Comprehensive dither and noise shaping</li><li>Complete with many factory presets</li></ul><div class=\"product-bullets\">\n\n</div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>Pro Tools AAX DSP, TDM, Native</div>'),(10335,85,0,1723,'Sonnox Oxford Limiter - HD'),(10336,85,1,1723,'Sonnox Oxford Limiter - HD'),(10337,76,0,1723,''),(10338,76,1,1723,''),(10339,75,0,1724,'<h2>Sonnox Oxford Reverb - Native</h2>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br /><br /><h3>Oxford Reverb Features</h3>\n<div class=\"product-bullets\">\n\n        \n\n	      </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>Extremely flexible stereo modelling reverb\n          </li><li>Full control over all of its many parameters\n          </li><li>Independent control of early reflections and reverb tail\n          </li><li>Integrated 5-band EQ  \n          </li><li>Over 100 invaluable presets for music and post-production\n		  </li></ul><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native, RTAS, Audio Units and VST</div>'),(10340,75,1,1724,'<h2>Sonnox Oxford Reverb - Native</h2>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br /><br /><h3>Oxford Reverb Features</h3>\n<div class=\"product-bullets\">\n\n        \n\n	      </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>Extremely flexible stereo modelling reverb\n          </li><li>Full control over all of its many parameters\n          </li><li>Independent control of early reflections and reverb tail\n          </li><li>Integrated 5-band EQ  \n          </li><li>Over 100 invaluable presets for music and post-production\n		  </li></ul><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native, RTAS, Audio Units and VST</div>'),(10341,85,0,1724,'Sonnox Oxford Reverb - Native'),(10342,85,1,1724,'Sonnox Oxford Reverb - Native'),(10343,76,0,1724,''),(10344,76,1,1724,''),(10345,75,0,1725,'<h2>Sonnox Oxford Reverb - HD</h2>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br /><br /><h3>Oxford Reverb Features</h3>\n<div class=\"product-bullets\">\n\n        \n\n	      </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>Extremely flexible stereo modelling reverb\n          </li><li>Full control over all of its many parameters\n          </li><li>Independent control of early reflections and reverb tail\n          </li><li>Integrated 5-band EQ  \n          </li><li>Over 100 invaluable presets for music and post-production\n		  </li></ul><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div> Pro Tools AAX DSP, TDM, Native\n\n        <strong></strong></div>'),(10346,75,1,1725,'<h2>Sonnox Oxford Reverb - HD</h2>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br /><br /><h3>Oxford Reverb Features</h3>\n<div class=\"product-bullets\">\n\n        \n\n	      </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>Extremely flexible stereo modelling reverb\n          </li><li>Full control over all of its many parameters\n          </li><li>Independent control of early reflections and reverb tail\n          </li><li>Integrated 5-band EQ  \n          </li><li>Over 100 invaluable presets for music and post-production\n		  </li></ul><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div> Pro Tools AAX DSP, TDM, Native\n\n        <strong></strong></div>'),(10347,85,0,1725,'Sonnox Oxford Reverb - HD'),(10348,85,1,1725,'Sonnox Oxford Reverb - HD'),(10349,76,0,1725,''),(10350,76,1,1725,''),(10351,75,0,1726,'<h2>Sonnox Oxford SuprEsser - Native</h2>\nThe Oxford SuprEsser is both a very highly-featured professional \nDe-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but \nalso an advanced mode for increased functionality and fine-tuning. The \ncombination of an intuitive FFT display and three listen modes enables \nthe user to easily see and hear exactly where the problem frequencies \nare, allowing the rapid reduction or removal of the offending audio.  As\n well as being able to trigger the full band compression, only the \noffending frequencies can be carefully carved out. Since the SuprEsser \ncan operate at all frequencies, ‘plosives’ and other annoyances can also\n be removed effortlessly, making it more than a simple De-Esser. \nAdditional features include Automatic Level Tracking, Linear Phase \nFiltering and a Wet/Dry blend control for final balancing.<br /><br />\n<h3>Oxford SuprEsser Features</h3>\n<div class=\"product-bullets\">\n\n        \n\n	      <li>64-bit compliant (AAX / AU / VST)</li>\n	      <li>Highly featured professional De-Esser  </li>\n	      <li>Linear Phase Dynamic EQ</li>\n	        <li>Transparently controls aggressive frequencies</li>\n	      <li>Automatic Level Tracking follows energy levels \n	        (no need to automate threshold)</li>\n	      <li>Large intuitive graphic display makes finding frequencies very easy</li>\n	      <li>Full Spectrum Operation (20Hz -20KHz) </li>\n          <li>Three different \'Listen\' modes </li>\n          <li>Very easy to use</li>\n          <li>Advanced Mode for ultimate control of the Dynamic EQ</li>\n          <li>Many creative as well as corrective uses</li>\n          <li>Presets giving good starting points</li>          \n	    </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX, RTAS,  Audio Units and VST</div>'),(10352,75,1,1726,'<h2>Sonnox Oxford SuprEsser - Native</h2>\nThe Oxford SuprEsser is both a very highly-featured professional \nDe-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but \nalso an advanced mode for increased functionality and fine-tuning. The \ncombination of an intuitive FFT display and three listen modes enables \nthe user to easily see and hear exactly where the problem frequencies \nare, allowing the rapid reduction or removal of the offending audio.  As\n well as being able to trigger the full band compression, only the \noffending frequencies can be carefully carved out. Since the SuprEsser \ncan operate at all frequencies, ‘plosives’ and other annoyances can also\n be removed effortlessly, making it more than a simple De-Esser. \nAdditional features include Automatic Level Tracking, Linear Phase \nFiltering and a Wet/Dry blend control for final balancing.<br /><br />\n<h3>Oxford SuprEsser Features</h3>\n<div class=\"product-bullets\">\n\n        \n\n	      <li>64-bit compliant (AAX / AU / VST)</li>\n	      <li>Highly featured professional De-Esser  </li>\n	      <li>Linear Phase Dynamic EQ</li>\n	        <li>Transparently controls aggressive frequencies</li>\n	      <li>Automatic Level Tracking follows energy levels \n	        (no need to automate threshold)</li>\n	      <li>Large intuitive graphic display makes finding frequencies very easy</li>\n	      <li>Full Spectrum Operation (20Hz -20KHz) </li>\n          <li>Three different \'Listen\' modes </li>\n          <li>Very easy to use</li>\n          <li>Advanced Mode for ultimate control of the Dynamic EQ</li>\n          <li>Many creative as well as corrective uses</li>\n          <li>Presets giving good starting points</li>          \n	    </div><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX, RTAS,  Audio Units and VST</div>'),(10353,85,0,1726,'Sonnox Oxford SuprEsser'),(10354,85,1,1726,'Sonnox Oxford SuprEsser'),(10355,76,0,1726,''),(10356,76,1,1726,''),(10357,75,0,1727,'<h2>Sonnox Oxford SuprEsser DS - AAX DSP</h2>\nThe Oxford SuprEsser DS is designed for the treatment of sibilance and fricatives in vocals, and the treatment of unwanted whistles and \'spirant\' artefacts associated with wind instruments. For the most natural sounding results, the SuprEsser de-esses only the frequency band you set - so you won\'t end up with an over-de-essed lisp-like voice with all the top end gone!<br /><br />\n\nDetailed visual feedback is provided thanks to the highly intuitive graphical display, allowing quick identification of the frequencies that need treatment and where to set the threshold. The threshold level and peak hold levels of the user-definable band are shown on the graph, alongside the FFT display of the narrow band signal, which includes retention of the peak level and the frequency containing the most energy.\n<br /><br />\nAt the heart of the Oxford SuprEsser DS is an enhanced version of the compressor section of the Oxford Dynamics plug-in, which is renowned amongst professional users for delivering precise and transparent control of peaks. Around this is built a pair of cross-over filters, modelled on the Oxford EQ, to make the compressor react only to the defined frequency band.<br /><br />\nThree listen modes allow the user to listen to the mix, the output of the band-pass filter (\'Inside\') or the output of the band-reject filter (\'Outside\').<br /><br />\nCareful thought has been put into making the Oxford SuprEsser DS extremely easy and quick to use. Once the frequency band has been defined, simply lower the threshold fader until the gain reduction meter starts to kick in. The plug-in then automatically tracks the general signal level and the threshold follows accordingly so that it gives the same relative amount of gain reduction as the signal level rises or falls. This is perfect for vocals where, for example, a vocalist is louder in the chorus than the verse, but you want to apply the same relative amount of de-essing, and not over de-ess in the chorus. This Auto Level Tracking mode lets the SuprEsser do all the hard work. It can also be switched off for a fixed threshold.<br /><br />\nPressing the \'More\' button gives access to ALL the controls.<br /><br />\nIn its default mode of operation, the Oxford SuprEsser DS feeds the defined \'Band\' signal to the compressor to affect only this narrow band signal. The result is that the compressor reacts only to specific frequency components when they reach a specific threshold, and applies compression only to these specific frequency components, leaving the rest of the spectrum untouched. \'Wide\' can also be selected to allow wide-band compression reacting to only specfic frequencies or any combination of Band and Wide defining \'when the compressor reacts\' and \'what it compresses\' (narrow or wide-band).<br /><br />The Oxford SuprEsser DS comes complete with many presets to act as good starting points, alternatively the advanced section gives full access to all controls for precise correction, or even creative use. <br /><br />\n<h3>SuprEsser DS Features</h3><ul>\n	<li>Highly featured professional De-Esser</li>\n	<li>Linear Phase Dynamic EQ</li>\n	<li>Operates from 1kHz - 20kHz</li>\n	<li>Latency of 1.9ms (at 48kHz sample rate)</li>\n	<li>Supported Sample Rates: 44.1 and 48kHz</li>\n	<li>Transparently controls aggressive frequencies</li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy</li>\n	<li>Three different \'Listen\' modes</li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ</li>\n	<li>Many creative as well as corrective uses</li>\n	<li>64-bit compliant</li>\n	<li>Presets giving good starting points</li></ul><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>\nAAX DSP only (not TDM). iLok 2 required <br /><br />'),(10358,75,1,1727,'<h2>Sonnox Oxford SuprEsser DS - AAX DSP</h2>\nThe Oxford SuprEsser DS is designed for the treatment of sibilance and fricatives in vocals, and the treatment of unwanted whistles and \'spirant\' artefacts associated with wind instruments. For the most natural sounding results, the SuprEsser de-esses only the frequency band you set - so you won\'t end up with an over-de-essed lisp-like voice with all the top end gone!<br /><br />\n\nDetailed visual feedback is provided thanks to the highly intuitive graphical display, allowing quick identification of the frequencies that need treatment and where to set the threshold. The threshold level and peak hold levels of the user-definable band are shown on the graph, alongside the FFT display of the narrow band signal, which includes retention of the peak level and the frequency containing the most energy.\n<br /><br />\nAt the heart of the Oxford SuprEsser DS is an enhanced version of the compressor section of the Oxford Dynamics plug-in, which is renowned amongst professional users for delivering precise and transparent control of peaks. Around this is built a pair of cross-over filters, modelled on the Oxford EQ, to make the compressor react only to the defined frequency band.<br /><br />\nThree listen modes allow the user to listen to the mix, the output of the band-pass filter (\'Inside\') or the output of the band-reject filter (\'Outside\').<br /><br />\nCareful thought has been put into making the Oxford SuprEsser DS extremely easy and quick to use. Once the frequency band has been defined, simply lower the threshold fader until the gain reduction meter starts to kick in. The plug-in then automatically tracks the general signal level and the threshold follows accordingly so that it gives the same relative amount of gain reduction as the signal level rises or falls. This is perfect for vocals where, for example, a vocalist is louder in the chorus than the verse, but you want to apply the same relative amount of de-essing, and not over de-ess in the chorus. This Auto Level Tracking mode lets the SuprEsser do all the hard work. It can also be switched off for a fixed threshold.<br /><br />\nPressing the \'More\' button gives access to ALL the controls.<br /><br />\nIn its default mode of operation, the Oxford SuprEsser DS feeds the defined \'Band\' signal to the compressor to affect only this narrow band signal. The result is that the compressor reacts only to specific frequency components when they reach a specific threshold, and applies compression only to these specific frequency components, leaving the rest of the spectrum untouched. \'Wide\' can also be selected to allow wide-band compression reacting to only specfic frequencies or any combination of Band and Wide defining \'when the compressor reacts\' and \'what it compresses\' (narrow or wide-band).<br /><br />The Oxford SuprEsser DS comes complete with many presets to act as good starting points, alternatively the advanced section gives full access to all controls for precise correction, or even creative use. <br /><br />\n<h3>SuprEsser DS Features</h3><ul>\n	<li>Highly featured professional De-Esser</li>\n	<li>Linear Phase Dynamic EQ</li>\n	<li>Operates from 1kHz - 20kHz</li>\n	<li>Latency of 1.9ms (at 48kHz sample rate)</li>\n	<li>Supported Sample Rates: 44.1 and 48kHz</li>\n	<li>Transparently controls aggressive frequencies</li>\n	<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n	<li>Large intuitive graphic display makes finding frequencies very easy</li>\n	<li>Three different \'Listen\' modes</li>\n	<li>Advanced Mode for ultimate control of the Dynamic EQ</li>\n	<li>Many creative as well as corrective uses</li>\n	<li>64-bit compliant</li>\n	<li>Presets giving good starting points</li></ul><br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>\nAAX DSP only (not TDM). iLok 2 required <br /><br />'),(10359,85,0,1727,'Sonnox Oxford SuprEsser DS'),(10360,85,1,1727,'Sonnox Oxford SuprEsser DS'),(10361,76,0,1727,''),(10362,76,1,1727,''),(10363,75,0,1728,'<h2>Sonnox Oxford TransMod - Native</h2>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.<br /><br /><h3>Oxford TransMod Features</h3><div class=\"product-bullets\">\n        \n	      </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>Accentuates or softens attacks and transients</li><li>Brings instruments forwards or pushes them back in the mix</li><li>Radically changes the dynamics of instruments</li><li>Variable harmonic enhancement for extra punch</li><li>Can have the effect of increasing or decreasing room ambience</li><li>Gives life to dull sounding recordings without the artifacts of compression</li></ul><div class=\"product-bullets\">\n          \n          </div><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST</div>'),(10364,75,1,1728,'<h2>Sonnox Oxford TransMod - Native</h2>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.<br /><br /><h3>Oxford TransMod Features</h3><div class=\"product-bullets\">\n        \n	      </div><ul><li>64-bit compliant (AAX / AU / VST)</li><li>Accentuates or softens attacks and transients</li><li>Brings instruments forwards or pushes them back in the mix</li><li>Radically changes the dynamics of instruments</li><li>Variable harmonic enhancement for extra punch</li><li>Can have the effect of increasing or decreasing room ambience</li><li>Gives life to dull sounding recordings without the artifacts of compression</li></ul><div class=\"product-bullets\">\n          \n          </div><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3><div>AAX Native,  RTAS,  Audio Units and VST</div>'),(10365,85,0,1728,'Sonnox Oxford TransMod - Native'),(10366,85,1,1728,'Sonnox Oxford TransMod - Native'),(10367,76,0,1728,''),(10368,76,1,1728,''),(10369,75,0,1729,'<h2>Sonnox Oxford TransMod - HD</h2>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.<br /><br /><h3>Oxford TransMod Features</h3>\n<ul><li>64-bit compliant (AAX / AU / VST)</li><li>Accentuates or softens attacks and transients</li><li>Brings instruments forwards or pushes them back in the mix</li><li>Radically changes the dynamics of instruments</li><li>Variable harmonic enhancement for extra punch</li><li>Can have the effect of increasing or decreasing room ambience</li><li>Gives life to dull sounding recordings without the artifacts of compression</li></ul>\n          \n          <br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>AAX Native,  RTAS,  Audio Units and VST'),(10370,75,1,1729,'<h2>Sonnox Oxford TransMod - HD</h2>\nThe Transient Modulator allows dramatic manipulation of signal transients. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. A \'soggy\' drum kit can be brought to life, or a bass made to sound more punchy. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression.<br /><br /><h3>Oxford TransMod Features</h3>\n<ul><li>64-bit compliant (AAX / AU / VST)</li><li>Accentuates or softens attacks and transients</li><li>Brings instruments forwards or pushes them back in the mix</li><li>Radically changes the dynamics of instruments</li><li>Variable harmonic enhancement for extra punch</li><li>Can have the effect of increasing or decreasing room ambience</li><li>Gives life to dull sounding recordings without the artifacts of compression</li></ul>\n          \n          <br /><h3><span style=\"background-color: initial;\">Platforms Supported</span></h3>AAX Native,  RTAS,  Audio Units and VST'),(10371,85,0,1729,'Sonnox Oxford TransMod - HD'),(10372,85,1,1729,'Sonnox Oxford TransMod - HD'),(10373,76,0,1729,''),(10374,76,1,1729,''),(10375,75,0,1730,'<h2>Sonnox Post Bundle</h2>\nSonnox Post is an uncompromising plug-in solution for audio post-production. It includes the award-winning Sonnox Restore suite which features the DeClicker, DeBuzzer and DeNoiser audio restoration plug-ins, along with the classic Oxford EQ and Dynamics algorithms from the OXF-R3 digital console. Also included are the versatile Oxford Reverb, Limiter and SuprEsser dynamic EQ - making Sonnox Post the ultimate post-production super bundle.<br /><br />\n\nWith the plug-ins\' detailed visual feedback, Sonnox Post will help get the job done faster!<br /><br />\n\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)            </li>\n<li>5 band fully parametric EQ                   </li>\n<li>Variable HF & LF filters up to 36dB/Octave   </li>\n<li>Algorithm taken directly from the Sony OXF-R3</li>\n<li>Four different EQ types in one plug-in       </li>\n<li>Fully de-cramped HF response                 </li>\n<li>A / B switches (automatable)                 </li>\n<li>Ultra low noise and distortion               </li>\n</ul><br />\n\n\n\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                               </li>\n<li>The dynamics section from Sony OXF-R3 console                   </li>\n<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n<li>2-Band side chain EQ (with audition function)                   </li>\n<li>Warmth control for extra presence and tube-like warmth          </li>\n<li>Three different compressor types (linear and exponential curves)</li>\n<li>Variable soft knee compressor                                   </li>\n<li>Separate 5.1 bus compressor (where supported)                   </li>\n<li>Ultra low noise and distortion                                  </li>\n</ul> <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                        </li>\n<li>Extremely flexible stereo modelling reverb               </li>\n<li>Full control over all of its many parameters             </li>\n<li>Independent control of early reflections and reverb tail </li>\n<li>Integrated 5-band EQ                                     </li>\n<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\n\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\n\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\n\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\n\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                            </li>\n<li>Enhance section to increase perceived loudness                                         </li>\n<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n<li>Attack, release and variable soft knee controls                                        </li>\n<li>Comprehensive dither and noise shaping                                                 </li>\n<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                   </li>\n<li>Highly featured professional De-Esser                                         </li>\n<li>Linear Phase Dynamic EQ                                                       </li>\n<li>Transparently controls aggressive frequencies                                 </li>\n<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n<li>Three different \'Listen\' modes                                                </li>\n<li>Very easy to use                                                              </li>\n<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n<li>Many creative as well as corrective uses                                      </li>\n<li>Presets giving good starting points                                           </li>\n</ul><br />\n\n<h3>DeClicker</h3>\n<ul>\n<li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle        </li>\n<li>Event display gives intuitive visual feedback of energy and duration of detected events     </li>\n<li>\'Exclude Box\' to select events that should not be repaired                                  </li>\n<li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li>\n<li>Excitation displays to aid accurate setting of threshold controls                           </li>\n<li>Three audition modes, including option to listen to only removed events                     </li>\n<li>Advanced algorithms for accurate detection and high quality repair                          </li>\n</ul><br />\n\n<h3>DeBuzzer</h3>\n<ul>\n<li>High performance hum and buzz removal using advanced algorithms                                                                                                  </li>\n<li>Separate Detect and Remove Sections for intuitive workflow                                                                                                       </li>\n<li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter                                                                        </li>\n<li>Very accurate setting of fundamental over 3 frequency ranges                                                                                                     </li>\n<li>Integrating frequency display shows strength of fundamental                                                                                                      </li>\n<li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude              </li>\n<li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li>\n<li>Two audition modes, including option to listen to the removed buzz                                                                                               </li>\n</ul><br />                                                                                                                                                            \n\n<h3>DeNoiser</h3>\n<ul>\n<li>High performance noise removal using advanced algorithms                                     </li>\n<li>Separate DeHisser, Detect and Remove Sections for intuitive workflow                         </li>\n<li>High resolution FFT of input signal showing noise profile                                    </li>\n<li>Efficient DeHisser for preparation before wide-band noise reduction                          </li>\n<li>Detector noise profile can be set to automatic, freeze or manual                             </li>\n<li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li>\n<li>Two audition modes, including the option to listen to the removed noise                      </li>\n<li>Warmth control for sweetening after noise removal                                            </li>\n<li>Make-up gain for true A/B comparisons                                                        </li>\n</ul>'),(10376,75,1,1730,'<h2>Sonnox Post Bundle</h2>\nSonnox Post is an uncompromising plug-in solution for audio post-production. It includes the award-winning Sonnox Restore suite which features the DeClicker, DeBuzzer and DeNoiser audio restoration plug-ins, along with the classic Oxford EQ and Dynamics algorithms from the OXF-R3 digital console. Also included are the versatile Oxford Reverb, Limiter and SuprEsser dynamic EQ - making Sonnox Post the ultimate post-production super bundle.<br /><br />\n\nWith the plug-ins\' detailed visual feedback, Sonnox Post will help get the job done faster!<br /><br />\n\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)            </li>\n<li>5 band fully parametric EQ                   </li>\n<li>Variable HF & LF filters up to 36dB/Octave   </li>\n<li>Algorithm taken directly from the Sony OXF-R3</li>\n<li>Four different EQ types in one plug-in       </li>\n<li>Fully de-cramped HF response                 </li>\n<li>A / B switches (automatable)                 </li>\n<li>Ultra low noise and distortion               </li>\n</ul><br />\n\n\n\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                               </li>\n<li>The dynamics section from Sony OXF-R3 console                   </li>\n<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n<li>2-Band side chain EQ (with audition function)                   </li>\n<li>Warmth control for extra presence and tube-like warmth          </li>\n<li>Three different compressor types (linear and exponential curves)</li>\n<li>Variable soft knee compressor                                   </li>\n<li>Separate 5.1 bus compressor (where supported)                   </li>\n<li>Ultra low noise and distortion                                  </li>\n</ul> <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                        </li>\n<li>Extremely flexible stereo modelling reverb               </li>\n<li>Full control over all of its many parameters             </li>\n<li>Independent control of early reflections and reverb tail </li>\n<li>Integrated 5-band EQ                                     </li>\n<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\n\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\n\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\n\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\n\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                            </li>\n<li>Enhance section to increase perceived loudness                                         </li>\n<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n<li>Attack, release and variable soft knee controls                                        </li>\n<li>Comprehensive dither and noise shaping                                                 </li>\n<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                   </li>\n<li>Highly featured professional De-Esser                                         </li>\n<li>Linear Phase Dynamic EQ                                                       </li>\n<li>Transparently controls aggressive frequencies                                 </li>\n<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n<li>Three different \'Listen\' modes                                                </li>\n<li>Very easy to use                                                              </li>\n<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n<li>Many creative as well as corrective uses                                      </li>\n<li>Presets giving good starting points                                           </li>\n</ul><br />\n\n<h3>DeClicker</h3>\n<ul>\n<li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle        </li>\n<li>Event display gives intuitive visual feedback of energy and duration of detected events     </li>\n<li>\'Exclude Box\' to select events that should not be repaired                                  </li>\n<li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li>\n<li>Excitation displays to aid accurate setting of threshold controls                           </li>\n<li>Three audition modes, including option to listen to only removed events                     </li>\n<li>Advanced algorithms for accurate detection and high quality repair                          </li>\n</ul><br />\n\n<h3>DeBuzzer</h3>\n<ul>\n<li>High performance hum and buzz removal using advanced algorithms                                                                                                  </li>\n<li>Separate Detect and Remove Sections for intuitive workflow                                                                                                       </li>\n<li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter                                                                        </li>\n<li>Very accurate setting of fundamental over 3 frequency ranges                                                                                                     </li>\n<li>Integrating frequency display shows strength of fundamental                                                                                                      </li>\n<li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude              </li>\n<li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li>\n<li>Two audition modes, including option to listen to the removed buzz                                                                                               </li>\n</ul><br />                                                                                                                                                            \n\n<h3>DeNoiser</h3>\n<ul>\n<li>High performance noise removal using advanced algorithms                                     </li>\n<li>Separate DeHisser, Detect and Remove Sections for intuitive workflow                         </li>\n<li>High resolution FFT of input signal showing noise profile                                    </li>\n<li>Efficient DeHisser for preparation before wide-band noise reduction                          </li>\n<li>Detector noise profile can be set to automatic, freeze or manual                             </li>\n<li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li>\n<li>Two audition modes, including the option to listen to the removed noise                      </li>\n<li>Warmth control for sweetening after noise removal                                            </li>\n<li>Make-up gain for true A/B comparisons                                                        </li>\n</ul>'),(10377,85,0,1730,'Sonnox Post Bundle'),(10378,85,1,1730,'Sonnox Post Bundle'),(10379,76,0,1730,''),(10380,76,1,1730,''),(10381,75,0,1731,'<h2>Sonnox Post Bundle - HD</h2>\nSonnox Post is an uncompromising plug-in solution for audio post-production. It includes the award-winning Sonnox Restore suite which features the DeClicker, DeBuzzer and DeNoiser audio restoration plug-ins, along with the classic Oxford EQ and Dynamics algorithms from the OXF-R3 digital console. Also included are the versatile Oxford Reverb, Limiter and SuprEsser dynamic EQ - making Sonnox Post the ultimate post-production super bundle.<br /><br />\n\nWith the plug-ins\' detailed visual feedback, Sonnox Post will help get the job done faster!<br /><br />\n\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)            </li>\n<li>5 band fully parametric EQ                   </li>\n<li>Variable HF & LF filters up to 36dB/Octave   </li>\n<li>Algorithm taken directly from the Sony OXF-R3</li>\n<li>Four different EQ types in one plug-in       </li>\n<li>Fully de-cramped HF response                 </li>\n<li>A / B switches (automatable)                 </li>\n<li>Ultra low noise and distortion               </li>\n</ul><br />\n\n\n\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                               </li>\n<li>The dynamics section from Sony OXF-R3 console                   </li>\n<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n<li>2-Band side chain EQ (with audition function)                   </li>\n<li>Warmth control for extra presence and tube-like warmth          </li>\n<li>Three different compressor types (linear and exponential curves)</li>\n<li>Variable soft knee compressor                                   </li>\n<li>Separate 5.1 bus compressor (where supported)                   </li>\n<li>Ultra low noise and distortion                                  </li>\n</ul> <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                        </li>\n<li>Extremely flexible stereo modelling reverb               </li>\n<li>Full control over all of its many parameters             </li>\n<li>Independent control of early reflections and reverb tail </li>\n<li>Integrated 5-band EQ                                     </li>\n<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\n\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\n\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\n\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\n\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                            </li>\n<li>Enhance section to increase perceived loudness                                         </li>\n<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n<li>Attack, release and variable soft knee controls                                        </li>\n<li>Comprehensive dither and noise shaping                                                 </li>\n<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                   </li>\n<li>Highly featured professional De-Esser                                         </li>\n<li>Linear Phase Dynamic EQ                                                       </li>\n<li>Transparently controls aggressive frequencies                                 </li>\n<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n<li>Three different \'Listen\' modes                                                </li>\n<li>Very easy to use                                                              </li>\n<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n<li>Many creative as well as corrective uses                                      </li>\n<li>Presets giving good starting points                                           </li>\n</ul><br />\n\n<h3>DeClicker</h3>\n<ul>\n<li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle        </li>\n<li>Event display gives intuitive visual feedback of energy and duration of detected events     </li>\n<li>\'Exclude Box\' to select events that should not be repaired                                  </li>\n<li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li>\n<li>Excitation displays to aid accurate setting of threshold controls                           </li>\n<li>Three audition modes, including option to listen to only removed events                     </li>\n<li>Advanced algorithms for accurate detection and high quality repair                          </li>\n</ul><br />\n\n<h3>DeBuzzer</h3>\n<ul>\n<li>High performance hum and buzz removal using advanced algorithms                                                                                                  </li>\n<li>Separate Detect and Remove Sections for intuitive workflow                                                                                                       </li>\n<li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter                                                                        </li>\n<li>Very accurate setting of fundamental over 3 frequency ranges                                                                                                     </li>\n<li>Integrating frequency display shows strength of fundamental                                                                                                      </li>\n<li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude              </li>\n<li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li>\n<li>Two audition modes, including option to listen to the removed buzz                                                                                               </li>\n</ul><br />                                                                                                                                                            \n\n<h3>DeNoiser</h3>\n<ul>\n<li>High performance noise removal using advanced algorithms                                     </li>\n<li>Separate DeHisser, Detect and Remove Sections for intuitive workflow                         </li>\n<li>High resolution FFT of input signal showing noise profile                                    </li>\n<li>Efficient DeHisser for preparation before wide-band noise reduction                          </li>\n<li>Detector noise profile can be set to automatic, freeze or manual                             </li>\n<li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li>\n<li>Two audition modes, including the option to listen to the removed noise                      </li>\n<li>Warmth control for sweetening after noise removal                                            </li>\n<li>Make-up gain for true A/B comparisons                                                        </li>\n</ul>'),(10382,75,1,1731,'<h2>Sonnox Post Bundle - HD</h2>\nSonnox Post is an uncompromising plug-in solution for audio post-production. It includes the award-winning Sonnox Restore suite which features the DeClicker, DeBuzzer and DeNoiser audio restoration plug-ins, along with the classic Oxford EQ and Dynamics algorithms from the OXF-R3 digital console. Also included are the versatile Oxford Reverb, Limiter and SuprEsser dynamic EQ - making Sonnox Post the ultimate post-production super bundle.<br /><br />\n\nWith the plug-ins\' detailed visual feedback, Sonnox Post will help get the job done faster!<br /><br />\n\n<h2>Bundle Includes:</h2>\n<h3>Oxford Eq</h3>\nThe renowned Oxford EQ is based on the original EQ section of the Sony OXF-R3 large format digital mixing console. It is a 5-band EQ with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features four different EQ curves that cover a broad array of styles, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. The Oxford EQ truly is four equalizers in one plug-in and will provide all the EQ you’ll ever need!<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)            </li>\n<li>5 band fully parametric EQ                   </li>\n<li>Variable HF & LF filters up to 36dB/Octave   </li>\n<li>Algorithm taken directly from the Sony OXF-R3</li>\n<li>Four different EQ types in one plug-in       </li>\n<li>Fully de-cramped HF response                 </li>\n<li>A / B switches (automatable)                 </li>\n<li>Ultra low noise and distortion               </li>\n</ul><br />\n\n\n\n<h3>Oxford Dynamics</h3>\nThe Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                               </li>\n<li>The dynamics section from Sony OXF-R3 console                   </li>\n<li>Separate sections for Compressor, Gate, Expander, Limiter       </li>\n<li>2-Band side chain EQ (with audition function)                   </li>\n<li>Warmth control for extra presence and tube-like warmth          </li>\n<li>Three different compressor types (linear and exponential curves)</li>\n<li>Variable soft knee compressor                                   </li>\n<li>Separate 5.1 bus compressor (where supported)                   </li>\n<li>Ultra low noise and distortion                                  </li>\n</ul> <br />\n<h3>Oxford Reverb</h3>\nThe Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility. As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AAX / AU / VST)                        </li>\n<li>Extremely flexible stereo modelling reverb               </li>\n<li>Full control over all of its many parameters             </li>\n<li>Independent control of early reflections and reverb tail </li>\n<li>Integrated 5-band EQ                                     </li>\n<li>Over 100 invaluable presets for music and post-production</li>\n</ul><br />\n\n<h3>Oxford Limiter</h3>\nThe Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. <br /><br />\n\nUnique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. <br /><br />\n\nComprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed \'inter sample peaks\'). <br /><br />\n\nA further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.<br /><br />\n\nComprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes.<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                            </li>\n<li>Enhance section to increase perceived loudness                                         </li>\n<li>Reconstruction meter shows ‘actual’ signal rather than sampled signal                  </li>\n<li>Auto compensate feature corrects recon errors without losing overall programme loudness</li>\n<li>Attack, release and variable soft knee controls                                        </li>\n<li>Comprehensive dither and noise shaping                                                 </li>\n<li>Complete with many factory presets                                                     </li>\n</ul><br />\n\n<h3>Oxford SuprEsser</h3>\nThe Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. More...<br />\n\n<h4>Features</h4>\n<ul>\n<li>64-bit compliant (AU / VST)                                                   </li>\n<li>Highly featured professional De-Esser                                         </li>\n<li>Linear Phase Dynamic EQ                                                       </li>\n<li>Transparently controls aggressive frequencies                                 </li>\n<li>Automatic Level Tracking follows energy levels (no need to automate threshold)</li>\n<li>Large intuitive graphic display makes finding frequencies very easy           </li>\n<li>Full Spectrum Operation (20Hz -20KHz)                                         </li>\n<li>Three different \'Listen\' modes                                                </li>\n<li>Very easy to use                                                              </li>\n<li>Advanced Mode for ultimate control of the Dynamic EQ                          </li>\n<li>Many creative as well as corrective uses                                      </li>\n<li>Presets giving good starting points                                           </li>\n</ul><br />\n\n<h3>DeClicker</h3>\n<ul>\n<li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle        </li>\n<li>Event display gives intuitive visual feedback of energy and duration of detected events     </li>\n<li>\'Exclude Box\' to select events that should not be repaired                                  </li>\n<li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li>\n<li>Excitation displays to aid accurate setting of threshold controls                           </li>\n<li>Three audition modes, including option to listen to only removed events                     </li>\n<li>Advanced algorithms for accurate detection and high quality repair                          </li>\n</ul><br />\n\n<h3>DeBuzzer</h3>\n<ul>\n<li>High performance hum and buzz removal using advanced algorithms                                                                                                  </li>\n<li>Separate Detect and Remove Sections for intuitive workflow                                                                                                       </li>\n<li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter                                                                        </li>\n<li>Very accurate setting of fundamental over 3 frequency ranges                                                                                                     </li>\n<li>Integrating frequency display shows strength of fundamental                                                                                                      </li>\n<li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude              </li>\n<li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li>\n<li>Two audition modes, including option to listen to the removed buzz                                                                                               </li>\n</ul><br />                                                                                                                                                            \n\n<h3>DeNoiser</h3>\n<ul>\n<li>High performance noise removal using advanced algorithms                                     </li>\n<li>Separate DeHisser, Detect and Remove Sections for intuitive workflow                         </li>\n<li>High resolution FFT of input signal showing noise profile                                    </li>\n<li>Efficient DeHisser for preparation before wide-band noise reduction                          </li>\n<li>Detector noise profile can be set to automatic, freeze or manual                             </li>\n<li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li>\n<li>Two audition modes, including the option to listen to the removed noise                      </li>\n<li>Warmth control for sweetening after noise removal                                            </li>\n<li>Make-up gain for true A/B comparisons                                                        </li>\n</ul>'),(10383,85,0,1731,'Sonnox Post Bundle - HD'),(10384,85,1,1731,'Sonnox Post Bundle - HD'),(10385,76,0,1731,''),(10386,76,1,1731,''),(10387,75,0,1732,'<h2>Sonnox Restore Bundle</h2>\n	Sonnox Restore is a very capable suite of three plug-ins designed for highly accurate audio restoration. Its advanced algorithms and novel features allow fast and extremely effective removal of pops, clicks, crackles, scratches, hum, buzzes and background noise from virtually any recording without damaging the important \'wanted\' audio content.\n<br /><br />\n	With their intuitive interfaces Sonnox Restore\'s plug-ins are incredibly quick and easy to use. The DeClicker has a unique dialogue mode and \'exclude box\' for retaining wanted audio; the DeBuzzer has 3 frequency ranges and real-time tracking for wandering problem frequencies; and the DeNoiser with its independent de-hisser offers powerful real-time broadband noise reduction.\n<br />\n<br />\n<h2>Bundle Includes:</h2>\n<h3>DeClicker</h3>\n<ul>\n	<li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle        </li>\n	<li>Event display gives intuitive visual feedback of energy and duration of detected events     </li>\n	<li>\'Exclude Box\' to select events that should not be repaired                                  </li>\n	<li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li>\n	<li>Excitation displays to aid accurate setting of threshold controls                           </li>\n	<li>Three audition modes, including option to listen to only removed events                     </li>\n	<li>Advanced algorithms for accurate detection and high quality repair                          </li>\n</ul>\n<br />\n<h3>DeBuzzer</h3>\n<ul>\n	<li>High performance hum and buzz removal using advanced algorithms                                                                                                  </li>\n	<li>Separate Detect and Remove Sections for intuitive workflow                                                                                                       </li>\n	<li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter                                                                        </li>\n	<li>Very accurate setting of fundamental over 3 frequency ranges                                                                                                     </li>\n	<li>Integrating frequency display shows strength of fundamental                                                                                                      </li>\n	<li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude              </li>\n	<li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li>\n	<li>Two audition modes, including option to listen to the removed buzz                                                                                               </li>\n</ul>\n<br />\n<h3>DeNoiser</h3>\n<ul>\n	<li>High performance noise removal using advanced algorithms                                     </li>\n	<li>Separate DeHisser, Detect and Remove Sections for intuitive workflow                         </li>\n	<li>High resolution FFT of input signal showing noise profile                                    </li>\n	<li>Efficient DeHisser for preparation before wide-band noise reduction                          </li>\n	<li>Detector noise profile can be set to automatic, freeze or manual                             </li>\n	<li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li>\n	<li>Two audition modes, including the option to listen to the removed noise                      </li>\n	<li>Warmth control for sweetening after noise removal                                            </li>\n	<li>Make-up gain for true A/B comparisons                                                        </li>\n</ul>\n<div>\n	<br /><b>Formats</b>\n</div>\n<div>\n	Native: AAX Native, RTAS, Audio Units and VST<br /><br />*iLok 2 required\n</div>'),(10388,75,1,1732,'<h2>Sonnox Restore Bundle</h2>\n	Sonnox Restore is a very capable suite of three plug-ins designed for highly accurate audio restoration. Its advanced algorithms and novel features allow fast and extremely effective removal of pops, clicks, crackles, scratches, hum, buzzes and background noise from virtually any recording without damaging the important \'wanted\' audio content.\n<br /><br />\n	With their intuitive interfaces Sonnox Restore\'s plug-ins are incredibly quick and easy to use. The DeClicker has a unique dialogue mode and \'exclude box\' for retaining wanted audio; the DeBuzzer has 3 frequency ranges and real-time tracking for wandering problem frequencies; and the DeNoiser with its independent de-hisser offers powerful real-time broadband noise reduction.\n<br />\n<br />\n<h2>Bundle Includes:</h2>\n<h3>DeClicker</h3>\n<ul>\n	<li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle        </li>\n	<li>Event display gives intuitive visual feedback of energy and duration of detected events     </li>\n	<li>\'Exclude Box\' to select events that should not be repaired                                  </li>\n	<li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li>\n	<li>Excitation displays to aid accurate setting of threshold controls                           </li>\n	<li>Three audition modes, including option to listen to only removed events                     </li>\n	<li>Advanced algorithms for accurate detection and high quality repair                          </li>\n</ul>\n<br />\n<h3>DeBuzzer</h3>\n<ul>\n	<li>High performance hum and buzz removal using advanced algorithms                                                                                                  </li>\n	<li>Separate Detect and Remove Sections for intuitive workflow                                                                                                       </li>\n	<li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter                                                                        </li>\n	<li>Very accurate setting of fundamental over 3 frequency ranges                                                                                                     </li>\n	<li>Integrating frequency display shows strength of fundamental                                                                                                      </li>\n	<li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude              </li>\n	<li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li>\n	<li>Two audition modes, including option to listen to the removed buzz                                                                                               </li>\n</ul>\n<br />\n<h3>DeNoiser</h3>\n<ul>\n	<li>High performance noise removal using advanced algorithms                                     </li>\n	<li>Separate DeHisser, Detect and Remove Sections for intuitive workflow                         </li>\n	<li>High resolution FFT of input signal showing noise profile                                    </li>\n	<li>Efficient DeHisser for preparation before wide-band noise reduction                          </li>\n	<li>Detector noise profile can be set to automatic, freeze or manual                             </li>\n	<li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li>\n	<li>Two audition modes, including the option to listen to the removed noise                      </li>\n	<li>Warmth control for sweetening after noise removal                                            </li>\n	<li>Make-up gain for true A/B comparisons                                                        </li>\n</ul>\n<div>\n	<br /><b>Formats</b>\n</div>\n<div>\n	Native: AAX Native, RTAS, Audio Units and VST<br /><br />*iLok 2 required\n</div>'),(10389,85,0,1732,'Sonnox Restore Bundle'),(10390,85,1,1732,'Sonnox Restore Bundle'),(10391,76,0,1732,''),(10392,76,1,1732,''),(10393,75,0,1733,'<h1>Sony C800GPAC Tube Condenser Microphone</h1>The Sony C-800G Studio Tube Condenser Microphone was developed by Sony to be the definitive vocal recording device, with the ability to provide full dynamic range, yet reproduce delicate and subtle nuances of sound, even at high levels. Designed for the highest possible sound reproduction quality, this microphone is ideal for critical vocal recording in recording studios and film postproduction houses.<br /><br />\n\nUtilizing a vacuum tube selected for optimum sonic quality and an innovative cooling system, the C-800G microphone delivers a warm, natural, rich and powerful but delicate sound with low noise and minimum distortion.<br /><br />\n\nThe superbly natural sound of the C-800G microphone will meet the most critical expectations of all professionals working in the demanding fields of recording and production. For engineers seeking the ultimate in sound quality, this microphone is the premier choice. \n\n\n<br /><br />\n<h3>Sony C800PAC Features</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Studio Tube Condenser Microphone PAC</span></li>\n	<li>Designed for the highest possible sound reproduction quality</li>\n	<li>Suitable for vocal recording in studios and film post production houses</li>\n	<li>High sensitivity of -33dB/Pa</li>\n	<li>Low noise and low distortion due to built-in cooling system</li>\n	<li>Large diaphragm capsule</li>\n	<li>Electronically selectable directivity, either omni-directional or cardioid</li>\n</ul>\n<br />\n<h3>The Ultimate in Sound Quality</h3>\nThe use of a rigorously selected vacuum tube gives the C-800G microphone its superb sonic quality, particularly at high frequencies and with exceptionally low noise levels. With a wide dynamic range and the ability to resolve subtle sound detail, the sonic quality is expressed as rich, natural and sensitive with an outstanding response to fast transients.\n<br /><br />\n<h3>Critical Vocal Recordings</h3>\nThe C-800G microphone is particularly suitable for critical vocal recording in recording studios and film and video postproduction houses, where sound clarity and nuance are essential.\n<br /><br />\n<h3>High Sensitivity</h3>\nWith a high sensitivity of -28dB/Pa, the C-800G microphone can capture subtle nuances at high frequencies with low noise levels and minimum distortion.\n<br /><br />\n<h3>Advanced Cooling System</h3>\nThe C-800G is the first microphone in the world to incorporate a built-in thermoelectric cooling system employing a semiconductor device, heat pipe and heat sink, which greatly contribute to the low noise and low distortion characteristics.\n<br /><br />\n<h3>Noise Elimination Construction</h3>\nThe C-800G microphone incorporates a two-part aluminum body that effectively helps to prevent acoustic vibration from reaching the microphone capsule, resulting in clarity of reproduction.\n<br /><br />\n<h3>Selectable Directivity</h3>\nThe C-800G provides electronically selectable directivity, either omnidirectional or uni-directional, for maximum flexibility and control over pickup angle.\n<br /><br />\n<h3>Includes AC Power Supply Unit</h3>\nThe AC-MC800G AC Power Supply Unit is available as an optional accessory to the C-800G microphone.'),(10394,75,1,1733,'<h1>Sony C800GPAC Tube Condenser Microphone</h1>The Sony C-800G Studio Tube Condenser Microphone was developed by Sony to be the definitive vocal recording device, with the ability to provide full dynamic range, yet reproduce delicate and subtle nuances of sound, even at high levels. Designed for the highest possible sound reproduction quality, this microphone is ideal for critical vocal recording in recording studios and film postproduction houses.<br /><br />\n\nUtilizing a vacuum tube selected for optimum sonic quality and an innovative cooling system, the C-800G microphone delivers a warm, natural, rich and powerful but delicate sound with low noise and minimum distortion.<br /><br />\n\nThe superbly natural sound of the C-800G microphone will meet the most critical expectations of all professionals working in the demanding fields of recording and production. For engineers seeking the ultimate in sound quality, this microphone is the premier choice. \n\n\n<br /><br />\n<h3>Sony C800PAC Features</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Studio Tube Condenser Microphone PAC</span></li>\n	<li>Designed for the highest possible sound reproduction quality</li>\n	<li>Suitable for vocal recording in studios and film post production houses</li>\n	<li>High sensitivity of -33dB/Pa</li>\n	<li>Low noise and low distortion due to built-in cooling system</li>\n	<li>Large diaphragm capsule</li>\n	<li>Electronically selectable directivity, either omni-directional or cardioid</li>\n</ul>\n<br />\n<h3>The Ultimate in Sound Quality</h3>\nThe use of a rigorously selected vacuum tube gives the C-800G microphone its superb sonic quality, particularly at high frequencies and with exceptionally low noise levels. With a wide dynamic range and the ability to resolve subtle sound detail, the sonic quality is expressed as rich, natural and sensitive with an outstanding response to fast transients.\n<br /><br />\n<h3>Critical Vocal Recordings</h3>\nThe C-800G microphone is particularly suitable for critical vocal recording in recording studios and film and video postproduction houses, where sound clarity and nuance are essential.\n<br /><br />\n<h3>High Sensitivity</h3>\nWith a high sensitivity of -28dB/Pa, the C-800G microphone can capture subtle nuances at high frequencies with low noise levels and minimum distortion.\n<br /><br />\n<h3>Advanced Cooling System</h3>\nThe C-800G is the first microphone in the world to incorporate a built-in thermoelectric cooling system employing a semiconductor device, heat pipe and heat sink, which greatly contribute to the low noise and low distortion characteristics.\n<br /><br />\n<h3>Noise Elimination Construction</h3>\nThe C-800G microphone incorporates a two-part aluminum body that effectively helps to prevent acoustic vibration from reaching the microphone capsule, resulting in clarity of reproduction.\n<br /><br />\n<h3>Selectable Directivity</h3>\nThe C-800G provides electronically selectable directivity, either omnidirectional or uni-directional, for maximum flexibility and control over pickup angle.\n<br /><br />\n<h3>Includes AC Power Supply Unit</h3>\nThe AC-MC800G AC Power Supply Unit is available as an optional accessory to the C-800G microphone.'),(10395,85,0,1733,'Sony C800GPAC Tube Condenser Microphone'),(10396,85,1,1733,'Sony C800GPAC Tube Condenser Microphone'),(10397,76,0,1733,''),(10398,76,1,1733,''),(10399,75,0,1734,'<h2>Sound Particles 2.1 Indie - 3D Sound Design Software</h2>\n<span style=\"font-size: 16px;\"><i>The ultimate immersive sound design software. Create thousands of sound in a virtual 3D world with a CGI-like software.</i></span><br /><br />Sound Particles is a CGI-like software for Sound Design, capable of using particle systems to generate thousands of sounds in a virtual 3D world. Particle Systems are a common tool used in computer graphics and VFX to \ncreate fuzzy/shapeless objects like fire, rain, dust or smoke. Instead \nof animating all individual points (water drops, grains of dust or \nsmoke), the user creates a particle system, an entity that is \nresponsible for the creation and management of thousands of small \nobjects. \n<strong><br /><br /></strong>Sound Particles uses the same concept, but for\n audio: each particle represents a sound source (instead of a 3D object)\n and a virtual microphone captures the virtual sound of the particles \n(instead of the virtual CGI camera).\n<br /><br />Sound Particles is currently under tests on major \"Hollywood\" studios, such as Skywalker Sound, Warner Bros, Universal, Technicolor, Sony, Fox, Formosa, Pinewood, Park Road Post.<br /><br />\n<h3>Sound Particles Key Features</h3>\n<ul>\n	<li><b>Huge Sound</b> - Up to millions of sound sources playing at the same time.</li>\n	<li><b>Immersive Formats</b> - Support for several multichannel formats, including immersive audio.</li>\n	<li><b>Audio Modifiers</b> - Use random effects to make sure each particle sounds different from any other particle (gain, delay, EQ, pitch/speed, granular).</li>\n	<li><b>Movement</b> - Use automation or movement modifiers to move sound sources and microphones.</li>\n	<li><b>Video</b> - Import reference clips and see the particles moving on top of the image, obtaining a perfect time and space coherence.</li>\n	<li><b>Sound Propagation</b> - Control the propagation of air (speed of sound, air attenuation, Doppler).</li>\n	<li><b>3D Views</b> - See what is happening, using the fantastic 3D views (top, front, perspective, etc.).</li>\n	<li><b>Granular Synthesis</b> - Use our optional granular audio modifier, and use particles to reproduce small audio fragments of original audio files.</li>\n</ul>\n<br />\n<h3>What\'s new on version 2.1</h3>\n<strong>All New Engine</strong><br />\nThe 2.1 update incorporates a new audio engine, responding to real-time changes with optimized iterations, delivering your sound design in the best audio quality possible.<br /><br />\n<strong>Batch Processing</strong><br />\nCreate your session and set Sound Particles to output hundreds of different renders in one pass. This feature makes mass production of sound effects a reality.<br /><br />\n<strong>Track Presets</strong><br />\nCreate and save an infinite number of track and microphone settings, recall track setups with just two mouse clicks. Includes 100+ professionally crafted presets.<br /><br />\n<strong>User Templates</strong><br />\nSave your sessions as templates. Include any number of tracks or microphones, never start from scratch again.<br /><br />\n<strong>Enable / Disable</strong><br />\nEnable or disable audio files, movement or audio modifiers. Experimenting with different techniques was never as easy as it is with version 2.1.<br /><br />\n<h3>The Battlefield example</h3>\n<p>\n				Imagine that you want to create the sound of a battlefield \nwith Sound Particles. You could create 10.000 particles (sound sources),\n spread over a square mile, pick 50 war-related sounds from your sound \nlibrary and render the entire scene with a virtual microphone (5.1, \nDolby Atmos 9.1 bed, etc.). \n	<br /><br />\n	Each particle would randomly select of your \nwar-related sounds for reproduction, which means that some particles \nwould reproduce the 1st audio files, other particles would reproduce the\n 2nd audio files, and so on. Also, each particle (sound source) would be\n positioned randomly on a square with a length of 1 mile. \n	<br /><br />\n	To obtain more interesting results, movement\n modifiers and audio modifiers could be added to the particles. Movement\n modifiers add movement to the particles. Audio modifiers apply random \naudio effects to each particle, ranging from simple things like random \ngains and delays, to more complex effects like random EQ or time/pitch \nvariations.\n	<br /><br />\n	The virtual microphone will be responsible \nfor capturing the virtual sound of the scene. Based on the position of \nthe microphone, its direction and the position of all particles, the \nsound of all particles is captured, taking into consideration things \nlike propagation attenuation, speed of sound, Doppler effect, etc.. \nSince the software has detailed information about everything, the \nmicrophone can capture the sound for different formats, ranging from \nmono or stereo, to 5.1 or even immersive formats.\n</p>\n<h3>Sound Particles Versions</h3>\n<br />\n<table style=\"text-align:center;\">\n<tbody>\n<tr>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/spindie.png\" alt=\"SP2 Indie plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/sppro.png\" alt=\"SP2 Pro plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n</tr>\n<tr>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER<br /></label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">399.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER</label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">990.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		All features\n	</td>\n	<td>\n		All features\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		Individuals \n		<sup>1</sup>\n	</td>\n	<td>\n		Companies\n	</td>\n</tr>\n<tr>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		Unlimited Projects\n	</td>\n	<td>\n		Unlimited Projects\n	</td>\n</tr>\n<tr>\n	<td>\n		Best Effort Support \n		<sup>4</sup>\n	</td>\n	<td>\n		Premium Support \n		<sup>5</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		Doppler + Air plugins \n		<sup>6</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		SP services \n		<sup>7</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		$399.00/once \n		<sup>11</sup>\n	</td>\n	<td>\n		$990.00/once \n		<sup>11</sup>\n	</td>\n</tr>\n</tbody>\n</table>\n<br />\n<hr />\n<ol style=\"font-size:10pt;\">\n	<li>Sound Particles Indie can only be sold to individuals. The invoices regarding Indie subscriptions can only include individual names (not companies).</li>\n	<li>Sound Particles can be licensed either “per user” (one license per user) or “per seat” (one license per computer). In “per user”, a Sound Particles license allows the user to use it in several computers, as long the software is used only by that user. In “per seat”, a Sound Particles license allows several users to use it, but the software can only be installed in a single machine.</li>\n	<li>Sound Particles Team must be used only within the context of a single project: one movie, one TV series season, one videogame title, etc. Also, the project duration cannot be longer than 18 months.</li>\n	<li>Best Effort support means that Sound Particles will try to handle your issue on a best effort approach but giving less priority than Pro/Team support requests.</li>\n	<li>Premium support means top priority from our support team, including access to the personal email of the support element.</li>\n	<li>Doppler+Air plugin licenses are included with Pro and Team licenses.</li>\n	<li>Sound Particles Pro includes Sound Particles services (maximum of 1 audio scene every 4 months). A Sound Particles professional will help you create an audio scene inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>Sound Particles Team includes Sound Particles services (up to 3 audio scenes). A Sound Particles professional will help you create up to 3 audio scenes inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>All payments are processed monthly. If you commit to a 1-year subscription, you will receive an additional discount (Indie: $19.90 -&gt; $16.90, Pro: $59.00 -&gt; $49.90). Upfront payments are also available, if you prefer making a single, non-renewable payment, for a n month license. Taxes may apply.</li>\n	<li>If you already own the Doppler + Air plugin, you are eligible for a 15% discount on Indie and Pro licenses. Discount valid for one year if you are buying a subscription.</li>\n	<li>Value for a perpetual license, including all Sound Particles 2.x updates. Taxes may apply.</li>\n</ol>\n<br /><br />'),(10400,75,1,1734,'<h2>Sound Particles 2.1 Indie - 3D Sound Design Software</h2>\n<span style=\"font-size: 16px;\"><i>The ultimate immersive sound design software. Create thousands of sound in a virtual 3D world with a CGI-like software.</i></span><br /><br />Sound Particles is a CGI-like software for Sound Design, capable of using particle systems to generate thousands of sounds in a virtual 3D world. Particle Systems are a common tool used in computer graphics and VFX to \ncreate fuzzy/shapeless objects like fire, rain, dust or smoke. Instead \nof animating all individual points (water drops, grains of dust or \nsmoke), the user creates a particle system, an entity that is \nresponsible for the creation and management of thousands of small \nobjects. \n<strong><br /><br /></strong>Sound Particles uses the same concept, but for\n audio: each particle represents a sound source (instead of a 3D object)\n and a virtual microphone captures the virtual sound of the particles \n(instead of the virtual CGI camera).\n<br /><br />Sound Particles is currently under tests on major \"Hollywood\" studios, such as Skywalker Sound, Warner Bros, Universal, Technicolor, Sony, Fox, Formosa, Pinewood, Park Road Post.<br /><br />\n<h3>Sound Particles Key Features</h3>\n<ul>\n	<li><b>Huge Sound</b> - Up to millions of sound sources playing at the same time.</li>\n	<li><b>Immersive Formats</b> - Support for several multichannel formats, including immersive audio.</li>\n	<li><b>Audio Modifiers</b> - Use random effects to make sure each particle sounds different from any other particle (gain, delay, EQ, pitch/speed, granular).</li>\n	<li><b>Movement</b> - Use automation or movement modifiers to move sound sources and microphones.</li>\n	<li><b>Video</b> - Import reference clips and see the particles moving on top of the image, obtaining a perfect time and space coherence.</li>\n	<li><b>Sound Propagation</b> - Control the propagation of air (speed of sound, air attenuation, Doppler).</li>\n	<li><b>3D Views</b> - See what is happening, using the fantastic 3D views (top, front, perspective, etc.).</li>\n	<li><b>Granular Synthesis</b> - Use our optional granular audio modifier, and use particles to reproduce small audio fragments of original audio files.</li>\n</ul>\n<br />\n<h3>What\'s new on version 2.1</h3>\n<strong>All New Engine</strong><br />\nThe 2.1 update incorporates a new audio engine, responding to real-time changes with optimized iterations, delivering your sound design in the best audio quality possible.<br /><br />\n<strong>Batch Processing</strong><br />\nCreate your session and set Sound Particles to output hundreds of different renders in one pass. This feature makes mass production of sound effects a reality.<br /><br />\n<strong>Track Presets</strong><br />\nCreate and save an infinite number of track and microphone settings, recall track setups with just two mouse clicks. Includes 100+ professionally crafted presets.<br /><br />\n<strong>User Templates</strong><br />\nSave your sessions as templates. Include any number of tracks or microphones, never start from scratch again.<br /><br />\n<strong>Enable / Disable</strong><br />\nEnable or disable audio files, movement or audio modifiers. Experimenting with different techniques was never as easy as it is with version 2.1.<br /><br />\n<h3>The Battlefield example</h3>\n<p>\n				Imagine that you want to create the sound of a battlefield \nwith Sound Particles. You could create 10.000 particles (sound sources),\n spread over a square mile, pick 50 war-related sounds from your sound \nlibrary and render the entire scene with a virtual microphone (5.1, \nDolby Atmos 9.1 bed, etc.). \n	<br /><br />\n	Each particle would randomly select of your \nwar-related sounds for reproduction, which means that some particles \nwould reproduce the 1st audio files, other particles would reproduce the\n 2nd audio files, and so on. Also, each particle (sound source) would be\n positioned randomly on a square with a length of 1 mile. \n	<br /><br />\n	To obtain more interesting results, movement\n modifiers and audio modifiers could be added to the particles. Movement\n modifiers add movement to the particles. Audio modifiers apply random \naudio effects to each particle, ranging from simple things like random \ngains and delays, to more complex effects like random EQ or time/pitch \nvariations.\n	<br /><br />\n	The virtual microphone will be responsible \nfor capturing the virtual sound of the scene. Based on the position of \nthe microphone, its direction and the position of all particles, the \nsound of all particles is captured, taking into consideration things \nlike propagation attenuation, speed of sound, Doppler effect, etc.. \nSince the software has detailed information about everything, the \nmicrophone can capture the sound for different formats, ranging from \nmono or stereo, to 5.1 or even immersive formats.\n</p>\n<h3>Sound Particles Versions</h3>\n<br />\n<table style=\"text-align:center;\">\n<tbody>\n<tr>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/spindie.png\" alt=\"SP2 Indie plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/sppro.png\" alt=\"SP2 Pro plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n</tr>\n<tr>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER<br /></label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">399.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER</label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">990.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		All features\n	</td>\n	<td>\n		All features\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		Individuals \n		<sup>1</sup>\n	</td>\n	<td>\n		Companies\n	</td>\n</tr>\n<tr>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		Unlimited Projects\n	</td>\n	<td>\n		Unlimited Projects\n	</td>\n</tr>\n<tr>\n	<td>\n		Best Effort Support \n		<sup>4</sup>\n	</td>\n	<td>\n		Premium Support \n		<sup>5</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		Doppler + Air plugins \n		<sup>6</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		SP services \n		<sup>7</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		$399.00/once \n		<sup>11</sup>\n	</td>\n	<td>\n		$990.00/once \n		<sup>11</sup>\n	</td>\n</tr>\n</tbody>\n</table>\n<br />\n<hr />\n<ol style=\"font-size:10pt;\">\n	<li>Sound Particles Indie can only be sold to individuals. The invoices regarding Indie subscriptions can only include individual names (not companies).</li>\n	<li>Sound Particles can be licensed either “per user” (one license per user) or “per seat” (one license per computer). In “per user”, a Sound Particles license allows the user to use it in several computers, as long the software is used only by that user. In “per seat”, a Sound Particles license allows several users to use it, but the software can only be installed in a single machine.</li>\n	<li>Sound Particles Team must be used only within the context of a single project: one movie, one TV series season, one videogame title, etc. Also, the project duration cannot be longer than 18 months.</li>\n	<li>Best Effort support means that Sound Particles will try to handle your issue on a best effort approach but giving less priority than Pro/Team support requests.</li>\n	<li>Premium support means top priority from our support team, including access to the personal email of the support element.</li>\n	<li>Doppler+Air plugin licenses are included with Pro and Team licenses.</li>\n	<li>Sound Particles Pro includes Sound Particles services (maximum of 1 audio scene every 4 months). A Sound Particles professional will help you create an audio scene inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>Sound Particles Team includes Sound Particles services (up to 3 audio scenes). A Sound Particles professional will help you create up to 3 audio scenes inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>All payments are processed monthly. If you commit to a 1-year subscription, you will receive an additional discount (Indie: $19.90 -&gt; $16.90, Pro: $59.00 -&gt; $49.90). Upfront payments are also available, if you prefer making a single, non-renewable payment, for a n month license. Taxes may apply.</li>\n	<li>If you already own the Doppler + Air plugin, you are eligible for a 15% discount on Indie and Pro licenses. Discount valid for one year if you are buying a subscription.</li>\n	<li>Value for a perpetual license, including all Sound Particles 2.x updates. Taxes may apply.</li>\n</ol>\n<br /><br />'),(10401,85,0,1734,'Sound Particles 2.1 Indie - 3D Sound Design Software'),(10402,85,1,1734,'Sound Particles 2.1 Indie - 3D Sound Design Software'),(10403,76,0,1734,''),(10404,76,1,1734,''),(10405,75,0,1735,'<h2>Sound Particles 2.1 Pro - 3D Sound Design Software</h2>\n<span style=\"font-size: 16px;\"><i>Pro version of Sound particles 2.1 designed for company use - includes all the features of Indie, plus Doppler + Air plug-ins, premium support, and SP services, where a</i></span><i> Sound Particles professional will help you create an audio scene inside SP, for your project needs (Max 1 audio scene every 4 months - only SP project files, with no audio material).</i><br /><br />Sound Particles is a CGI-like software for Sound Design, capable of using particle systems to generate thousands of sounds in a virtual 3D world. Particle Systems are a common tool used in computer graphics and VFX to \ncreate fuzzy/shapeless objects like fire, rain, dust or smoke. Instead \nof animating all individual points (water drops, grains of dust or \nsmoke), the user creates a particle system, an entity that is \nresponsible for the creation and management of thousands of small \nobjects. \n<strong><br /><br /></strong>Sound Particles uses the same concept, but for\n audio: each particle represents a sound source (instead of a 3D object)\n and a virtual microphone captures the virtual sound of the particles \n(instead of the virtual CGI camera).\n<br /><br />Sound Particles is currently under tests on major \"Hollywood\" studios, such as Skywalker Sound, Warner Bros, Universal, Technicolor, Sony, Fox, Formosa, Pinewood, Park Road Post.<br /><br />\n<h3>Sound Particles Key Features</h3>\n<ul>\n	<li><b>Huge Sound</b> - Up to millions of sound sources playing at the same time.</li>\n	<li><b>Immersive Formats</b> - Support for several multichannel formats, including immersive audio.</li>\n	<li><b>Audio Modifiers</b> - Use random effects to make sure each particle sounds different from any other particle (gain, delay, EQ, pitch/speed, granular).</li>\n	<li><b>Movement</b> - Use automation or movement modifiers to move sound sources and microphones.</li>\n	<li><b>Video</b> - Import reference clips and see the particles moving on top of the image, obtaining a perfect time and space coherence.</li>\n	<li><b>Sound Propagation</b> - Control the propagation of air (speed of sound, air attenuation, Doppler).</li>\n	<li><b>3D Views</b> - See what is happening, using the fantastic 3D views (top, front, perspective, etc.).</li>\n	<li><b>Granular Synthesis</b> - Use our optional granular audio modifier, and use particles to reproduce small audio fragments of original audio files.</li>\n</ul>\n<br />\n<h3>What\'s new on version 2.1</h3>\n<strong>All New Engine</strong><br />\nThe 2.1 update incorporates a new audio engine, responding to real-time changes with optimized iterations, delivering your sound design in the best audio quality possible.<br /><br />\n<strong>Batch Processing</strong><br />\nCreate your session and set Sound Particles to output hundreds of different renders in one pass. This feature makes mass production of sound effects a reality.<br /><br />\n<strong>Track Presets</strong><br />\nCreate and save an infinite number of track and microphone settings, recall track setups with just two mouse clicks. Includes 100+ professionally crafted presets.<br /><br />\n<strong>User Templates</strong><br />\nSave your sessions as templates. Include any number of tracks or microphones, never start from scratch again.<br /><br />\n<strong>Enable / Disable</strong><br />\nEnable or disable audio files, movement or audio modifiers. Experimenting with different techniques was never as easy as it is with version 2.1.<br /><br />\n<h3>The Battlefield example</h3>\n<p>\n				Imagine that you want to create the sound of a battlefield \nwith Sound Particles. You could create 10.000 particles (sound sources),\n spread over a square mile, pick 50 war-related sounds from your sound \nlibrary and render the entire scene with a virtual microphone (5.1, \nDolby Atmos 9.1 bed, etc.). \n	<br /><br />\n	Each particle would randomly select of your \nwar-related sounds for reproduction, which means that some particles \nwould reproduce the 1st audio files, other particles would reproduce the\n 2nd audio files, and so on. Also, each particle (sound source) would be\n positioned randomly on a square with a length of 1 mile. \n	<br /><br />\n	To obtain more interesting results, movement\n modifiers and audio modifiers could be added to the particles. Movement\n modifiers add movement to the particles. Audio modifiers apply random \naudio effects to each particle, ranging from simple things like random \ngains and delays, to more complex effects like random EQ or time/pitch \nvariations.\n	<br /><br />\n	The virtual microphone will be responsible \nfor capturing the virtual sound of the scene. Based on the position of \nthe microphone, its direction and the position of all particles, the \nsound of all particles is captured, taking into consideration things \nlike propagation attenuation, speed of sound, Doppler effect, etc.. \nSince the software has detailed information about everything, the \nmicrophone can capture the sound for different formats, ranging from \nmono or stereo, to 5.1 or even immersive formats.\n</p>\n<h3>Sound Particles Versions</h3>\n<br />\n<table style=\"text-align:center;\">\n<tbody>\n<tr>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/spindie.png\" alt=\"SP2 Indie plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/sppro.png\" alt=\"SP2 Pro plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n</tr>\n<tr>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER<br /></label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">399.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER</label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">990.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		All features\n	</td>\n	<td>\n		All features\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		Individuals \n		<sup>1</sup>\n	</td>\n	<td>\n		Companies\n	</td>\n</tr>\n<tr>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		Unlimited Projects\n	</td>\n	<td>\n		Unlimited Projects\n	</td>\n</tr>\n<tr>\n	<td>\n		Best Effort Support \n		<sup>4</sup>\n	</td>\n	<td>\n		Premium Support \n		<sup>5</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		Doppler + Air plugins \n		<sup>6</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		SP services \n		<sup>7</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		$399.00/once \n		<sup>11</sup>\n	</td>\n	<td>\n		$990.00/once \n		<sup>11</sup>\n	</td>\n</tr>\n</tbody>\n</table>\n<br />\n<hr />\n<ol style=\"font-size:10pt;\">\n	<li>Sound Particles Indie can only be sold to individuals. The invoices regarding Indie subscriptions can only include individual names (not companies).</li>\n	<li>Sound Particles can be licensed either “per user” (one license per user) or “per seat” (one license per computer). In “per user”, a Sound Particles license allows the user to use it in several computers, as long the software is used only by that user. In “per seat”, a Sound Particles license allows several users to use it, but the software can only be installed in a single machine.</li>\n	<li>Sound Particles Team must be used only within the context of a single project: one movie, one TV series season, one videogame title, etc. Also, the project duration cannot be longer than 18 months.</li>\n	<li>Best Effort support means that Sound Particles will try to handle your issue on a best effort approach but giving less priority than Pro/Team support requests.</li>\n	<li>Premium support means top priority from our support team, including access to the personal email of the support element.</li>\n	<li>Doppler+Air plugin licenses are included with Pro and Team licenses.</li>\n	<li>Sound Particles Pro includes Sound Particles services (maximum of 1 audio scene every 4 months). A Sound Particles professional will help you create an audio scene inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>Sound Particles Team includes Sound Particles services (up to 3 audio scenes). A Sound Particles professional will help you create up to 3 audio scenes inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>All payments are processed monthly. If you commit to a 1-year subscription, you will receive an additional discount (Indie: $19.90 -&gt; $16.90, Pro: $59.00 -&gt; $49.90). Upfront payments are also available, if you prefer making a single, non-renewable payment, for a n month license. Taxes may apply.</li>\n	<li>If you already own the Doppler + Air plugin, you are eligible for a 15% discount on Indie and Pro licenses. Discount valid for one year if you are buying a subscription.</li>\n	<li>Value for a perpetual license, including all Sound Particles 2.x updates. Taxes may apply.</li>\n</ol>\n<br /><br />'),(10406,75,1,1735,'<h2>Sound Particles 2.1 Pro - 3D Sound Design Software</h2>\n<span style=\"font-size: 16px;\"><i>Pro version of Sound particles 2.1 designed for company use - includes all the features of Indie, plus Doppler + Air plug-ins, premium support, and SP services, where a</i></span><i> Sound Particles professional will help you create an audio scene inside SP, for your project needs (Max 1 audio scene every 4 months - only SP project files, with no audio material).</i><br /><br />Sound Particles is a CGI-like software for Sound Design, capable of using particle systems to generate thousands of sounds in a virtual 3D world. Particle Systems are a common tool used in computer graphics and VFX to \ncreate fuzzy/shapeless objects like fire, rain, dust or smoke. Instead \nof animating all individual points (water drops, grains of dust or \nsmoke), the user creates a particle system, an entity that is \nresponsible for the creation and management of thousands of small \nobjects. \n<strong><br /><br /></strong>Sound Particles uses the same concept, but for\n audio: each particle represents a sound source (instead of a 3D object)\n and a virtual microphone captures the virtual sound of the particles \n(instead of the virtual CGI camera).\n<br /><br />Sound Particles is currently under tests on major \"Hollywood\" studios, such as Skywalker Sound, Warner Bros, Universal, Technicolor, Sony, Fox, Formosa, Pinewood, Park Road Post.<br /><br />\n<h3>Sound Particles Key Features</h3>\n<ul>\n	<li><b>Huge Sound</b> - Up to millions of sound sources playing at the same time.</li>\n	<li><b>Immersive Formats</b> - Support for several multichannel formats, including immersive audio.</li>\n	<li><b>Audio Modifiers</b> - Use random effects to make sure each particle sounds different from any other particle (gain, delay, EQ, pitch/speed, granular).</li>\n	<li><b>Movement</b> - Use automation or movement modifiers to move sound sources and microphones.</li>\n	<li><b>Video</b> - Import reference clips and see the particles moving on top of the image, obtaining a perfect time and space coherence.</li>\n	<li><b>Sound Propagation</b> - Control the propagation of air (speed of sound, air attenuation, Doppler).</li>\n	<li><b>3D Views</b> - See what is happening, using the fantastic 3D views (top, front, perspective, etc.).</li>\n	<li><b>Granular Synthesis</b> - Use our optional granular audio modifier, and use particles to reproduce small audio fragments of original audio files.</li>\n</ul>\n<br />\n<h3>What\'s new on version 2.1</h3>\n<strong>All New Engine</strong><br />\nThe 2.1 update incorporates a new audio engine, responding to real-time changes with optimized iterations, delivering your sound design in the best audio quality possible.<br /><br />\n<strong>Batch Processing</strong><br />\nCreate your session and set Sound Particles to output hundreds of different renders in one pass. This feature makes mass production of sound effects a reality.<br /><br />\n<strong>Track Presets</strong><br />\nCreate and save an infinite number of track and microphone settings, recall track setups with just two mouse clicks. Includes 100+ professionally crafted presets.<br /><br />\n<strong>User Templates</strong><br />\nSave your sessions as templates. Include any number of tracks or microphones, never start from scratch again.<br /><br />\n<strong>Enable / Disable</strong><br />\nEnable or disable audio files, movement or audio modifiers. Experimenting with different techniques was never as easy as it is with version 2.1.<br /><br />\n<h3>The Battlefield example</h3>\n<p>\n				Imagine that you want to create the sound of a battlefield \nwith Sound Particles. You could create 10.000 particles (sound sources),\n spread over a square mile, pick 50 war-related sounds from your sound \nlibrary and render the entire scene with a virtual microphone (5.1, \nDolby Atmos 9.1 bed, etc.). \n	<br /><br />\n	Each particle would randomly select of your \nwar-related sounds for reproduction, which means that some particles \nwould reproduce the 1st audio files, other particles would reproduce the\n 2nd audio files, and so on. Also, each particle (sound source) would be\n positioned randomly on a square with a length of 1 mile. \n	<br /><br />\n	To obtain more interesting results, movement\n modifiers and audio modifiers could be added to the particles. Movement\n modifiers add movement to the particles. Audio modifiers apply random \naudio effects to each particle, ranging from simple things like random \ngains and delays, to more complex effects like random EQ or time/pitch \nvariations.\n	<br /><br />\n	The virtual microphone will be responsible \nfor capturing the virtual sound of the scene. Based on the position of \nthe microphone, its direction and the position of all particles, the \nsound of all particles is captured, taking into consideration things \nlike propagation attenuation, speed of sound, Doppler effect, etc.. \nSince the software has detailed information about everything, the \nmicrophone can capture the sound for different formats, ranging from \nmono or stereo, to 5.1 or even immersive formats.\n</p>\n<h3>Sound Particles Versions</h3>\n<br />\n<table style=\"text-align:center;\">\n<tbody>\n<tr>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/spindie.png\" alt=\"SP2 Indie plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n	<td>\n		<img src=\"https://www.soundparticles.com/assets/img/sppro.png\" alt=\"SP2 Pro plan - Sound Particles\" class=\"img-fluid\" style=\"box-sizing: border-box; border-style: none; max-width: 100%; height: auto;\" />\n	</td>\n</tr>\n<tr>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER<br /></label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">399.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n	<td>\n		<label class=\"price-label text-left\" style=\"box-sizing: border-box; background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; color: red; font-size: 0.7rem; line-height: 1;\">LIMITED TIME OFFER</label><label class=\"price-label text-left\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1;\">STARTING</label><span class=\"price\" style=\"box-sizing: border-box; text-align: center; background-color: rgb(247, 247, 247); display: flex; -webkit-box-pack: center; justify-content: center; -webkit-box-align: start; align-items: flex-start; font-size: 2.7rem; font-weight: 600; color: rgb(33, 37, 41);\"><span class=\"price-unit\" style=\"box-sizing: border-box; font-size: 21.6px;\">$</span><span style=\"box-sizing: border-box; font-size: 33px;\">990.00</span></span><label class=\"price-label text-right\" style=\"box-sizing: border-box; color: rgb(119, 119, 119); background-color: rgb(247, 247, 247); display: inline-block; margin-bottom: 0px; text-transform: uppercase; font-size: 0.7rem; line-height: 1; text-align: right !important;\">ONCE</label>\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		All features\n	</td>\n	<td>\n		All features\n	</td>\n</tr>\n<tr>\n	<td style=\"text-align: center;\">\n		Individuals \n		<sup>1</sup>\n	</td>\n	<td>\n		Companies\n	</td>\n</tr>\n<tr>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n	<td>\n		One user or one machine \n		<sup>2</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		Unlimited Projects\n	</td>\n	<td>\n		Unlimited Projects\n	</td>\n</tr>\n<tr>\n	<td>\n		Best Effort Support \n		<sup>4</sup>\n	</td>\n	<td>\n		Premium Support \n		<sup>5</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		Doppler + Air plugins \n		<sup>6</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		-\n	</td>\n	<td>\n		SP services \n		<sup>7</sup>\n	</td>\n</tr>\n<tr>\n	<td>\n		$399.00/once \n		<sup>11</sup>\n	</td>\n	<td>\n		$990.00/once \n		<sup>11</sup>\n	</td>\n</tr>\n</tbody>\n</table>\n<br />\n<hr />\n<ol style=\"font-size:10pt;\">\n	<li>Sound Particles Indie can only be sold to individuals. The invoices regarding Indie subscriptions can only include individual names (not companies).</li>\n	<li>Sound Particles can be licensed either “per user” (one license per user) or “per seat” (one license per computer). In “per user”, a Sound Particles license allows the user to use it in several computers, as long the software is used only by that user. In “per seat”, a Sound Particles license allows several users to use it, but the software can only be installed in a single machine.</li>\n	<li>Sound Particles Team must be used only within the context of a single project: one movie, one TV series season, one videogame title, etc. Also, the project duration cannot be longer than 18 months.</li>\n	<li>Best Effort support means that Sound Particles will try to handle your issue on a best effort approach but giving less priority than Pro/Team support requests.</li>\n	<li>Premium support means top priority from our support team, including access to the personal email of the support element.</li>\n	<li>Doppler+Air plugin licenses are included with Pro and Team licenses.</li>\n	<li>Sound Particles Pro includes Sound Particles services (maximum of 1 audio scene every 4 months). A Sound Particles professional will help you create an audio scene inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>Sound Particles Team includes Sound Particles services (up to 3 audio scenes). A Sound Particles professional will help you create up to 3 audio scenes inside SP, for your project needs (only SP project files, with no audio material).</li>\n	<li>All payments are processed monthly. If you commit to a 1-year subscription, you will receive an additional discount (Indie: $19.90 -&gt; $16.90, Pro: $59.00 -&gt; $49.90). Upfront payments are also available, if you prefer making a single, non-renewable payment, for a n month license. Taxes may apply.</li>\n	<li>If you already own the Doppler + Air plugin, you are eligible for a 15% discount on Indie and Pro licenses. Discount valid for one year if you are buying a subscription.</li>\n	<li>Value for a perpetual license, including all Sound Particles 2.x updates. Taxes may apply.</li>\n</ol>\n<br /><br />'),(10407,85,0,1735,'Sound Particles 2.1 Pro - 3D Sound Design Software'),(10408,85,1,1735,'Sound Particles 2.1 Pro - 3D Sound Design Software'),(10409,76,0,1735,''),(10410,76,1,1735,''),(10411,75,0,1736,'<h1>Sound Particles Air Plug-in</h1>\n<i>Air is the perfect tool to simulate distance through high frequency attenuation. Use it on any DAW.</i><br /><br />\n<b>Air</b> simulates the natural dampening that happens to higher frequencies from sounds as they travel through air, providing perfectly simulated frequency responses to dialogue or effects that you want to sound naturally distant.<br /><br />\n<h4>Air Key Features</h4>\n<ul>\n	<li><b>Several Locations</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Air already includes temperature and humidity settings from different locations around the globe, from Antarctica to Death Valley, but you are always able to enter your one custom.</span></li>\n	<li><b>Perfect Result</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Air is much more accurate than a simple low-pass filter, using scientifically measured frequency response values of air dampening.</span></li>\n	<li><b>Frequency Response</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">With Air, you can see the actual frequency response that is being applied to the sound.</span></li>\n	<li><b>Distance Attenuation</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Control the volume over distance with the Distance Attenuation parameter.</span></li>\n	<li><b>World Units</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Do you prefer “meters” or “feet”? “Mph\" or \"km/h\"? Full integration with Imperial and Metric units, for an easy and more welcoming workflow for everyone.</span></li>\n	<li><b>Control Surfaces</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Use control surfaces such as AVID S6 to edit the plug-ins\' parameters.</span></li>\n</ul>\n<br />'),(10412,75,1,1736,'<h1>Sound Particles Air Plug-in</h1>\n<i>Air is the perfect tool to simulate distance through high frequency attenuation. Use it on any DAW.</i><br /><br />\n<b>Air</b> simulates the natural dampening that happens to higher frequencies from sounds as they travel through air, providing perfectly simulated frequency responses to dialogue or effects that you want to sound naturally distant.<br /><br />\n<h4>Air Key Features</h4>\n<ul>\n	<li><b>Several Locations</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Air already includes temperature and humidity settings from different locations around the globe, from Antarctica to Death Valley, but you are always able to enter your one custom.</span></li>\n	<li><b>Perfect Result</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Air is much more accurate than a simple low-pass filter, using scientifically measured frequency response values of air dampening.</span></li>\n	<li><b>Frequency Response</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">With Air, you can see the actual frequency response that is being applied to the sound.</span></li>\n	<li><b>Distance Attenuation</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Control the volume over distance with the Distance Attenuation parameter.</span></li>\n	<li><b>World Units</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Do you prefer “meters” or “feet”? “Mph\" or \"km/h\"? Full integration with Imperial and Metric units, for an easy and more welcoming workflow for everyone.</span></li>\n	<li><b>Control Surfaces</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Use control surfaces such as AVID S6 to edit the plug-ins\' parameters.</span></li>\n</ul>\n<br />'),(10413,85,0,1736,''),(10414,85,1,1736,''),(10415,76,0,1736,''),(10416,76,1,1736,''),(10417,75,0,1737,'<h1>Sound Particles Doppler + Air Plug-ins</h1>\n<i>“Doppler + Air” plugins are two powerful plugins that simulate the physical behavior of sound moving thru the air, available for Windows and MacOS.</i><br /><br />\n<h3>Doppler</h3>\n<b>Doppler</b> simulates the behavior of objects moving through air, providing audio with highly accurate characteristics of sounds passing-by. With control of all parameters that physically affect pitch, level and EQ in a real world situation, Doppler gives you the most natural sounding emulation for your work.<br />\n<h4>Doppler Key Features</h4>\n<ul style=\"letter-spacing: normal;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\"><b>Highly Accurate Doppler</b> - </span><span style=\"background-color: initial; letter-spacing: 0px;\">Accurate means Natural - because the brain knows what is natural and what is fake, you need the most accurate tools. Doppler plugin uses the same engine of Sound Particles, used in many Hollywood studios for creating the most natural sounding Doppler effects, but now available as a plugin.</span></li>\n	<li><b>Support for Immersive Audio</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Simply select between different microphones, ranging from mono (omni, cardoid, figure-of-eight), stereo (MS, XY, ORTF, Blumlein, AB), 5.1, 7.1, 9.1 Dolby Atmos bed, or Ambisonics (up to 3rd order). The best Doppler for the best audio formats.</span></li>\n	<li><b>Perfect Image Sync</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Specify the time where you want the peak of the Doppler, and all other parameters will adjust to get the perfect sync with the image.</span></li>\n	<li><b>Including Distance EQ</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Besides volume and pitch, Doppler plugin also applies the perfect frequency response you would get from air dampening thru distance.</span></li>\n	<li><b>World Units</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Do you prefer “meters” or “feet”? “Mph\" or \"km/h\"? Full integration with Imperial and Metric units, for an easy and more welcoming workflow for everyone.</span></li>\n	<li><b>Instructions Manual always available</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">The instructions manual is always a button away.</span></li>\n</ul>\n<br />\n<h3>Air</h3>\n<b>Air</b> simulates the natural dampening that happens to higher frequencies from sounds as they travel through air, providing perfectly simulated frequency responses to dialogue or effects that you want to sound naturally distant.<br /><br />\n<ul>\n</ul>\n<h4>Air Key Features</h4>\n<ul style=\"letter-spacing: normal;\">\n	<li><b style=\"background-color: initial;\">Several Locations</b><span style=\"background-color: initial;\"> </span><span style=\"background-color: initial;\">- </span><span style=\"background-color: initial; letter-spacing: 0px;\">Air already includes settings from different locations around the globe, from Antarctica to Death Valley, but you are always able to enter your one custom values.</span></li>\n	<li><b>Perfect result</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Air is much more accurate than a simple low-pass filter, using exact frequency response values of air</span></li>\n	<li><b>Frequency Response</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">With Air, you can see the actual frequency response that is being applied to the sound.</span></li>\n	<li><b>World Units</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Do you prefer “meters” or “feet”? “Mph\" or \"km/h\"? Full integration with Imperial and Metric units, for an easy and more welcoming workflow for everyone.</span></li>\n	<li><b>Instructions Manual always available</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">The instructions manual is always a button away.</span></li>\n</ul>\n<br />'),(10418,75,1,1737,'<h1>Sound Particles Doppler + Air Plug-ins</h1>\n<i>“Doppler + Air” plugins are two powerful plugins that simulate the physical behavior of sound moving thru the air, available for Windows and MacOS.</i><br /><br />\n<h3>Doppler</h3>\n<b>Doppler</b> simulates the behavior of objects moving through air, providing audio with highly accurate characteristics of sounds passing-by. With control of all parameters that physically affect pitch, level and EQ in a real world situation, Doppler gives you the most natural sounding emulation for your work.<br />\n<h4>Doppler Key Features</h4>\n<ul style=\"letter-spacing: normal;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\"><b>Highly Accurate Doppler</b> - </span><span style=\"background-color: initial; letter-spacing: 0px;\">Accurate means Natural - because the brain knows what is natural and what is fake, you need the most accurate tools. Doppler plugin uses the same engine of Sound Particles, used in many Hollywood studios for creating the most natural sounding Doppler effects, but now available as a plugin.</span></li>\n	<li><b>Support for Immersive Audio</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Simply select between different microphones, ranging from mono (omni, cardoid, figure-of-eight), stereo (MS, XY, ORTF, Blumlein, AB), 5.1, 7.1, 9.1 Dolby Atmos bed, or Ambisonics (up to 3rd order). The best Doppler for the best audio formats.</span></li>\n	<li><b>Perfect Image Sync</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Specify the time where you want the peak of the Doppler, and all other parameters will adjust to get the perfect sync with the image.</span></li>\n	<li><b>Including Distance EQ</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Besides volume and pitch, Doppler plugin also applies the perfect frequency response you would get from air dampening thru distance.</span></li>\n	<li><b>World Units</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Do you prefer “meters” or “feet”? “Mph\" or \"km/h\"? Full integration with Imperial and Metric units, for an easy and more welcoming workflow for everyone.</span></li>\n	<li><b>Instructions Manual always available</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">The instructions manual is always a button away.</span></li>\n</ul>\n<br />\n<h3>Air</h3>\n<b>Air</b> simulates the natural dampening that happens to higher frequencies from sounds as they travel through air, providing perfectly simulated frequency responses to dialogue or effects that you want to sound naturally distant.<br /><br />\n<ul>\n</ul>\n<h4>Air Key Features</h4>\n<ul style=\"letter-spacing: normal;\">\n	<li><b style=\"background-color: initial;\">Several Locations</b><span style=\"background-color: initial;\"> </span><span style=\"background-color: initial;\">- </span><span style=\"background-color: initial; letter-spacing: 0px;\">Air already includes settings from different locations around the globe, from Antarctica to Death Valley, but you are always able to enter your one custom values.</span></li>\n	<li><b>Perfect result</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Air is much more accurate than a simple low-pass filter, using exact frequency response values of air</span></li>\n	<li><b>Frequency Response</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">With Air, you can see the actual frequency response that is being applied to the sound.</span></li>\n	<li><b>World Units</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">Do you prefer “meters” or “feet”? “Mph\" or \"km/h\"? Full integration with Imperial and Metric units, for an easy and more welcoming workflow for everyone.</span></li>\n	<li><b>Instructions Manual always available</b> - <span style=\"background-color: initial; letter-spacing: 0px;\">The instructions manual is always a button away.</span></li>\n</ul>\n<br />'),(10419,85,0,1737,'Buy Sound Particles Doppler + Air Plug-ins online with the lowest price, fast shipping and great service from RSPE Audio. RSPE carries all the top pro audio brands for your recording studio or post production facility.'),(10420,85,1,1737,'Buy Sound Particles Doppler + Air Plug-ins online with the lowest price, fast shipping and great service from RSPE Audio. RSPE carries all the top pro audio brands for your recording studio or post production facility.'),(10421,76,0,1737,''),(10422,76,1,1737,''),(10423,75,0,1738,'<h1>Sound Particles Energy Panner Plug-in</h1>\n<i>Powerful panner plug-in that uses the intensity of sound to control their movement around you. Compatible with a variety of formats – from stereo to Dolby Atmos Immersive.</i><br /><br />Sound Particles Energy Panner uses the intensity of a sound to control its movement, enabling artists to add dynamic depth to their panning techniques without any effort or additional routing.<br /><br /><span style=\"background-color: initial;\">This unique audio plugin makes panning easier than ever, by </span><span style=\"background-color: initial;\">applying movement to your sounds using compressor-type parameters to the level of the audio </span><span style=\"background-color: initial;\">signal.<br /><br /></span><span style=\"background-color: initial;\">Designed to be simple and quick to use, Energy Panner has two different modes of operation — </span><span style=\"background-color: initial;\">Pan and Sliding — enabling sound designers and music producers to use this new approach to </span><span style=\"background-color: initial;\">panning in several different ways. Whether to add motion to sound effects or to creatively mix </span><span style=\"background-color: initial;\">instruments, this audio plugin will change the way you think about the sound around you.</span><div><span style=\"background-color: initial;\"><br /></span><span style=\"background-color: initial;\">Energy Panner brings the most innovative panning solution to your DAW. Allows you to move </span><span style=\"background-color: initial;\">your sound around dynamically in a variety of reproduction formats — from stereo to surround </span><span style=\"background-color: initial;\">5.1 and 7.1, to Dolby Atmos 7.1.2, Ambisonics up to 3rd order, and Binaural.</span></div><br />\n<h4>Energy Panner Features</h4>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Stereo, Immersive & Binaural Outputs - </b><span style=\"background-color: initial; letter-spacing: 0px;\">From stereo, 7.1, HOA to Binaural and Dolby Atmos, Energy Panner gives you several output options based on virtual microphones technology.</span></li><li><b>Dynamic Movement - </b>Easily set how the sounds will move. For instance, will they move from the speakers position to the centre or will they move clockwise starting from a custom position?</li><li><b>Sidechain - </b>Use external signals to control the effect of the plugin instead of using the track’s sound for this.</li><li><b>Visualization Dome - </b>Track every single movement the sounds are making through the main component of the plugin’s UI: the dome.</li><li><b>Randomization - </b>Running out of ideas? Don’t worry! The Energy Panner has a randomize option that outputs a new result each time you click it.</li><li><b>Absolute Control - </b>Energy Panner brings you all the options you need to have complete control over how the sounds are moving in the panoramic field.</li>\n</ul>\n<br />\n<h3>Sound Intensity Controls Panning</h3>\nWith Energy Panner, the sound intensity controls the panner, creating movement that reacts to sound. Imagine drums moving at the beat, synth notes that move on attack, among many other behaviors. From music to audio post, from stereo to Dolby Atmos, Energy Panner is a plugin that you definitely want in your toolset.<br /><br />\n\n\n<h3>Panning Mode</h3>\nThe Pan mode is essentially a normal end-to-end particle-based panning. This type of panning effect changes the position of the sound source between two points (start point → end point) previously defined by you. Therefore, the greater the energy of the input signal the greater the shift from the starting point to the end point.<br /><br />\n\n<h3>Sliding Mode</h3>\nWhenever the audio signal reaches a certain level (threshold value), the sound source moves on a trajectory that you define. As opposed to pan mode, the sound source does not return to the starting point as soon as the signal level drops. The sound source will freeze that position until the audio signal exceeds the threshold value again, leading to a new shift of the sound source in the dome space.<br /><br />'),(10424,75,1,1738,'<h1>Sound Particles Energy Panner Plug-in</h1>\n<i>Powerful panner plug-in that uses the intensity of sound to control their movement around you. Compatible with a variety of formats – from stereo to Dolby Atmos Immersive.</i><br /><br />Sound Particles Energy Panner uses the intensity of a sound to control its movement, enabling artists to add dynamic depth to their panning techniques without any effort or additional routing.<br /><br /><span style=\"background-color: initial;\">This unique audio plugin makes panning easier than ever, by </span><span style=\"background-color: initial;\">applying movement to your sounds using compressor-type parameters to the level of the audio </span><span style=\"background-color: initial;\">signal.<br /><br /></span><span style=\"background-color: initial;\">Designed to be simple and quick to use, Energy Panner has two different modes of operation — </span><span style=\"background-color: initial;\">Pan and Sliding — enabling sound designers and music producers to use this new approach to </span><span style=\"background-color: initial;\">panning in several different ways. Whether to add motion to sound effects or to creatively mix </span><span style=\"background-color: initial;\">instruments, this audio plugin will change the way you think about the sound around you.</span><div><span style=\"background-color: initial;\"><br /></span><span style=\"background-color: initial;\">Energy Panner brings the most innovative panning solution to your DAW. Allows you to move </span><span style=\"background-color: initial;\">your sound around dynamically in a variety of reproduction formats — from stereo to surround </span><span style=\"background-color: initial;\">5.1 and 7.1, to Dolby Atmos 7.1.2, Ambisonics up to 3rd order, and Binaural.</span></div><br />\n<h4>Energy Panner Features</h4>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Stereo, Immersive & Binaural Outputs - </b><span style=\"background-color: initial; letter-spacing: 0px;\">From stereo, 7.1, HOA to Binaural and Dolby Atmos, Energy Panner gives you several output options based on virtual microphones technology.</span></li><li><b>Dynamic Movement - </b>Easily set how the sounds will move. For instance, will they move from the speakers position to the centre or will they move clockwise starting from a custom position?</li><li><b>Sidechain - </b>Use external signals to control the effect of the plugin instead of using the track’s sound for this.</li><li><b>Visualization Dome - </b>Track every single movement the sounds are making through the main component of the plugin’s UI: the dome.</li><li><b>Randomization - </b>Running out of ideas? Don’t worry! The Energy Panner has a randomize option that outputs a new result each time you click it.</li><li><b>Absolute Control - </b>Energy Panner brings you all the options you need to have complete control over how the sounds are moving in the panoramic field.</li>\n</ul>\n<br />\n<h3>Sound Intensity Controls Panning</h3>\nWith Energy Panner, the sound intensity controls the panner, creating movement that reacts to sound. Imagine drums moving at the beat, synth notes that move on attack, among many other behaviors. From music to audio post, from stereo to Dolby Atmos, Energy Panner is a plugin that you definitely want in your toolset.<br /><br />\n\n\n<h3>Panning Mode</h3>\nThe Pan mode is essentially a normal end-to-end particle-based panning. This type of panning effect changes the position of the sound source between two points (start point → end point) previously defined by you. Therefore, the greater the energy of the input signal the greater the shift from the starting point to the end point.<br /><br />\n\n<h3>Sliding Mode</h3>\nWhenever the audio signal reaches a certain level (threshold value), the sound source moves on a trajectory that you define. As opposed to pan mode, the sound source does not return to the starting point as soon as the signal level drops. The sound source will freeze that position until the audio signal exceeds the threshold value again, leading to a new shift of the sound source in the dome space.<br /><br />'),(10425,85,0,1738,''),(10426,85,1,1738,''),(10427,76,0,1738,''),(10428,76,1,1738,''),(10429,75,0,1739,'<h1>SoundField DSF-1 Digital Performance Microphone System</h1>\n<span style=\"font-size:16px; font-style:italic;\">The DSF-1 is a digital surround microphone system aimed at the discerning concert venue broadcast and recording markets, ideal for capturing classical performances in both stereo and high-quality surround. </span><br /><br /><div><div><div>The DSF-1 is a digital surround microphone system aimed at the discerning concert venue broadcast and recording markets, ideal for capturing classical performances in both stereo and high-quality surround</div></div></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">DSF-1 features</h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; \"><li><span style=\"background-color: initial;\">Gain indicator LEDs (up to 40dB) in 3dB steps</span></li><li>Switchable fixed threshold Limiter to prevent ‘digital overload’</li><li>End Fire – maintains correct 3D perspective in surround and stereo when mic is horizontal</li><li>Invert – maintains correct 3D perspective in surround and stereo when mic is suspended upside down</li><li>Switchable 26 segment B-Format / Stereo bargraphs 0 to -37.5dBfs range</li><li>Rotate – offers 360° mic rotation with switchable Coarse  (10° steps) and Fine (1° steps) mode</li><li>Switchable 40Hz or 80Hz Hi-pass filter with status LED</li><li>Mid/Side – switches stereo outputs from Left/Right to M/S</li><li>Variable Polar Pattern and Angle (width) for stereo output</li><li>Sample rate selector: 44.1K, 48K, 88.2K, 96K, 176.4K, 192K and External Clock</li><li>Stereo headphone monitoring section with level control</li><li>Power/Status LED</li></ul>'),