The McDSP Live Pack II plug-ins can also operate in Pro Tools as an AAX DSP or AAX Native plug-in, or as an AU, VST, or VST3 plug-in on other DAWs for both Mac OS and Windows.
G Equalizer – A five-band professional grade console style EQ with a versatile filter section.
All Channel G configurations feature calibration modes for music, post production, and models of the world’s most popular analog mixing desks.
For more information on the G Channel click here.
AE600 Active EQ
New and unique EQ modes, independent control of fixed and active EQ bands, and an ultra low latency algorithm make the AE600 the perfect solution for any audio production.
Every fixed and active band in the AE600 has its own gain, frequency, Q, and mode controls. Mode options include parametric, proportional Q parametric, 5x Q parametric, Baxandall shelving EQ, vintage styled EQ, and a new X-style shelving EQ. All bands are completely overlapping and can use the input signal or selected side chain inputs to trigger the active EQ response.
For more information on the AE600 click here.
6050 Ultimate Channel Strip
All the modules from the award winning 6020 Ultimate EQ and 6030 Ultimate Compressor plug-ins are included. Additional modules include gates, expanders, signal saturators, and specialized filters.
The 6050 Ultimate Channel Strip has input and output stages, wrapped around 3 module bays in which any of the over 25 modules can be inserted. Easily drag and drop any module to rearrange the signal flow of your channel strip. A module selector panel allows quick auditioning of equalizers, compressors and additional effects. Like the original 6020 and 6030 plug-ins, each new module in the 6050 draws on classic and modern designs over the last four decades. Operation is simple and intuitive, and the sound quality is what professionals worldwide have come to know in McDSP plug-ins.
For more information on the 6050 Channel Strip click here.
ML8000 Advanced Limiter
The ML8000 8-bands of processing are easily controlled from the response plot, large gain faders beneath, and convenient threshold markers aligned to each band’s input meter. Text readouts can be adjusted from the keyboard, or controlled with mouse movement. Any number of bands can be linked to another band, and each band can be solo’ed or have its key input monitored.
Visual feedback, multiple metering sources, and an intuitive user interface make the ML8000 an easy choice for the audio professional.
For more information on the ML8000 click here.
ML4000 Mastering Limiter
ML1 – Mastering Limiter
The ML1 mastering limiter uses a flexible brick wall look-ahead design coupled with multiple stages of limiting for superior peak detection. The unique Knee and Mode controls allow the ML1 to handle any kind of material with a variety of responses ranging from transparent to aggressive.
The ML4 multi-band dynamics processor includes a 4-band Gate, Expander (upwards or downwards), and Compressor fed into the same limiter algorithm found in the ML1. Each band’s Gate, Expander, and Compressor can be configured separately or linked together. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent bands. Multiple real-time metering options in each band allow quick visualization of all signal dynamics.
For more information on the ML4000 click here.
6034 Ultimate Multi-Band
It offers all the award winning compression, expansion, and gating modules from the highly acclaimed 6050 Ultimate Channel Strip plug-in, in a four band crossover network.
Just like the 6050 modules, the 6034 Ultimate Multi-band modules can be swapped on the fly for quick auditioning while retaining relative settings. The crossover filter slopes can be configured as 6, 12, or 24 dB/Oct. Metering includes gain reduction and output levels on all crossover bands, as well as main input and output levels.
For more info on the 6034 click here.
NF575 Noise Filter
Accurate high pass and low pass filters reduce low frequency rumble and high frequency hiss. Selectable slopes of 6, 12, 18, 24, 30 and 36 dB/Oct and frequency control range covering the entire audible spectrum make the NF575 filters extremely flexible.
Advanced notch filters allow the user to select the amount of signal cut, cut frequency, and width (Q). All five NF575 notch filters can be linked harmonically to address common cyclical noise problems such as 60 Hz hum.
For more info on the NF575 click here.
NR800 Noise Reduction
The NR800 operates with no internal latency, and does not contaminate the original source material with artifacts such as those found by noise reduction plug-ins that utilize transform-based processing.
For more information on the NR800 click here.
EC-300 Echo Collection
The three delay types – Magnetic, Digital, and Analog – come with a generous collection of user controls, plenty of character modes, highly stylized visual feedback, and McDSP’s nearly two decades of gear modelling experience.
For more info on the EC-300 click here.
DE555 Advanced De-esser
Intelligent signal analysis allows the DE555 to effectively de-ess at any signal level – no manual input threshold adjustment required. Other options include continuously adjustable ratio and release controls to fine- tune the de-essing amount, plus a high frequency (HF) only mode for reducing the signal level of only the ‘sss’ and not the original dialog.
For more info on the DE555 click here.
Typical post productions require distorted, or ‘futzed’ versions of dialog and other tracks. Simulations of radios, cell phones, and televisions are now available in a single software product. These simulations, called SIMs (Synthetic Impulse Models) provide accurate modeling in an extremely optimized format, allowing FutzBox to use less dsp power than conventional convolution based products. Furthermore, SIMs can be scaled in real-time and changed on the fly.
For more info on the FutzBox click here,
• SA-2 Dialog Processor
Dialog. The focal point of any movie, television show, documentary, or for that matter, any creative media production involving the spoken word. Add to the mix a sweeping musical score, dozens of foley effects, and plenty more – and it becomes clear the job of dialog mixing is a tall order. After all, if you can’t hear what the actors are saying, why watch it at all!!