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App Store Description:

MangledVerb is a unique effect combining a rich reverb with devastating distortion. It’s capable of creating everything from granular ambience and moody auras to sound-sculpting mangled chaos. Transform your instruments and vocals with this classic Eventide effect.

- Create out-of-this world-soundscapes by turning up Size and Overdrive.
- Smoothly morph from soft-clipping to hard-ripping overdrive.
- Use the Wobble control to create spookiness.
- Use The Ribbon control to easily manipulate multiple parameters in a live situation.
- Program the Hotswitch to instantly change multiple parameters at once.
- Flexible I/O: Mono-In/Mono-Out, Mono-In/Stereo-Out or Stereo-In/Stereo-Out.
- Optimized for live use with MIDI control of The Ribbon and Tap Tempo for quick meta-control on the fly.
- Use Mixlock to scroll through presets while keeping the wet-dry mix constant.
- Available as an Audio Units AUv3 plug-in, Inter-App Audio, and Standalone App.

TB Enhancer

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App Store Description:

ToneBoosters Enhancer is a studio-quality, professional enhancer, exciter and sweetener plug-in with an unrivalled workflow, unlimited creative use and a gorgeous, functional user interface.

Make your performances shine, your drums cut through the mix, add that extra depth and sparkle to give your creations that professional sound.

The ToneBoosters Enhancer app captures the device's microphone input and processes the signals in real time. To use it as a plug-in, use an AUv3-compatible host app such as Steinberg Cubasis, Apple Garageband, Audio Evolution Mobile Studio, Auria, AUM, or others. ToneBoosters Enhancer will appear in the list of Audio Unit extensions for effect plug-ins.

Key features:

- Studio-grade exciter and enhancer
- The same professional sound as the acclaimed desktop version
- Triple band exciter with precise control over generated harmonics
- Spatial widener / enhancer
- Dynamics enhancer / compressor
- Timbre enhancer / equalizer
- Integrated spectrum analyser
- Undo/redo, and A/B comparison
- Color themes for the user interface
- Max screen support in Garageband
- Legacy Inter-App Audio (IAA) support
- Optimised for iPad and compatible with iPhone and iPod Touch

Save and export of settings
- The stand-alone app (and IAA app) can load and save settings (locally on iPad, via iCloud, or via iTunes file sharing).
- These files can also be loaded into the desktop version of the plug-in.
- The AUv3 version can only export settings to be used in the stand-alone app or desktop version but can not share saved settings between AUv3 instances.

What you should know:
- Inter-App Audio (IAA) can only use one instance of this app simultaneously. We recommend to use an AUv3 host to use multiple instances.
- Licenses acquired for this platform are not compatible with other platforms.
- Audio Unit extensions require an iPad mini 2, iPad 4 or later models.
- The stand-alone version does not require any additional hardware or hardware pairing; it will use the device's microphone as input and the device's headphones or loudspeaker as output.

How to use this app as AUv3 plug-in in Apple Garageband for iOS:

How to use this app as AUv3 plug-in in Steinberg Cubasis for iOS:

How to use this app as AUv3 plug-in in Audio Evolution Mobile Studio for iOS:


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App Store Description:

RealDelayrium is a MultiDelay Audio Units PlugIn in parallel approach. It is based on 6 delay line with controls in Time, Feedback, Reson Filter, Frequency Modulation, LowPass, HighPass and Air Filter.
It can be use as classic delay or sperimental mode for sound design and more. RealDelayrium contains 2 Audio Unit Plugin: Mono and Stereo mode.

- AUv3 Audio Unit Effect (apeMatrix, AUM, Cubasis, Nano Studio...)
- 6 Delay Line
- Distance control and Delay Time
- Reson Filter
- Frequency Modulation of the Reson Filter
- LowPass and HighPass Filter
- Air Filter
- Preset System

FD-1 Filter Delay

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App Store Description:

FD-1 is a Semi-Modular Effect Plugin including dedicated Filter, Delay and Modulation sections.

At it's core, FD-1 is designed to create filter rythms and grooves by first sending the signal through a modulated filter section before feeding it to a delay stage but it goes much further than that.

Built-in Step Sequencer and Low Frequency Oscillator serve as modulation sources and are ideal for creating rythmic filter sequences either free running or tempo-synced to a host application.

However, due it's semi modular nature, not just filter cutoff but every control within FD-1 can be a modulation target allowing for an increased range effects and combinations ranging from Chorus and Flanger type effects over Analog and Tape Style echos to complex Stutter and Repeat effects.

- VA Multi Mode Filter with 2 & 4 Pole options
- Digital Stereo Delay with Tempo Sync and Time Range Control
- Analog Style Step Sequencer
- Low Frequency Oscillator
- Easy to use Mod Matrix
- Input Low-Cut and Drive Controls
- Individual Return Levels for Filter and Delay

- Standalone
- AUv3
- AudioBus (Filter)

- Tempo Sync
- CC Control

- iOS9+
- iPad 4th generation or newer

Noise Gate & Downward Expander

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App Store Description:


Most of the iOS recording apps already come with a built-in noise gate effect. So why do you buy another noise gate? There are 2 main reasons: clearer sound and more natural gate-closing sound.


The simplest noise gate plugins simply set the volume to zero when the input level drops below a threshold. The abrupt change in volume from that process sounds unnatural and makes it obvious that you are using a noise gate plugin on the signal. Instead of using a gate that fluctuates between two states (open, closed), this plugin uses downward expansion to gently and smoothly reduce the gain as the input drops below the threshold setting.

An example to illustrate this:

With the downward expansion ratio set at 2:1 and the threshold at -10 dB, when the signal drops below the -10 dB threshold level, the plugin doubles its distance from the threshold. So a signal that comes in 2 dB below the threshold goes out 4 dB below; 10 dB below the threshold comes out 20 dB below, and so on. The big advantage to this method is that when the signal is just slightly below the threshold, say 1/2 dB for example, it won't be reduced all the way down to zero volume, so you don't hear an abrupt change as the signal drops below the threshold. Instead it just seems that the quiet sounds are even quieter, and they decay faster than they normally would. This allows you do eliminate a lot of background noise without the listener knowing that you are using a noise gate.


The key challenge that all noise gate designs struggle to overcome is how to make sure the gate doesn't flutter open and closed several times at the end of a sound. This is a serious challenge because the input signal is a wave, meaning that it is constantly moving up and down and it crosses above and below the threshold with every up and down motion. How to keep the gate from opening and closing in time with the oscillation of the sound waves? There are many ways to do it, but the basic idea is to slow the gate down somehow, so it can't open and shut too quickly. Of course, slowing the gate down or delaying its closing is not desirable because we need it to close as quickly as possible when the input signal ends and open immediately when it starts up again. Each noise gate plugin handles this problem in a different way, and therefore each one has its own unique sound. To hear how a noise gate performs in this respect, set its release very fast, pluck a low guitar string (or hit a bass note on the piano) and let ring out, listening as the note decays down to the threshold level and the gate starts to activate. If your noise gate allows a fast enough release time, you'll hear a buzzing noise as the gate rapidly flip-flops open and closed for a few moments before settling in the closed position. The audibility of the buzzing sound as the gate closes determines the quality of the plugin. Any gate can avoid buzzing if its release time is set very long, but only the best of them can close down quickly and smoothly without buzzing.

This noise gate plugin has a unique smoothing filter to ensure that the gate makes as little noise as possible when opening and closing, while still being able to open and close very quickly.


The side chain input is the signal that the plugin follows to measure the input volume. If you have bass drum bleeding into your hi-hat mic, you can gate out the bass by cutting bass frequencies out of the side chain. The result is that the gate only opens when the hi frequencies from the hi-hat are sounding, not when the bass drum is bleeding through.
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