The McDSP Live Pack v6 is a collection of highly acclaimed plug-ins for mixing live performances. Features like ultra low latency, superior sonic flex... Read More
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The McDSP Live Pack v6 is a collection of highly acclaimed plug-ins for mixing live performances. Features like ultra low latency, superior sonic flexibility and seamless integration with the Avid VENUE live sound system make Live Pack a "must-have" for any FOH or monitoring engineer.
In addition to supporting the Avid VENUE systems, Live Pack v5 plug-ins also run as TDM, RTAS and AudioSuite formats on Pro Tools HD, LE, and M-Powered systems, as well as on any Audio Unit compatible DAW.
AE400 Active EQ
The AE400 is made up of 4 bands of fixed and active equalization. Each band is completely overlapping with all other bands and has its own Q (bandwidth), fixed gain, and active gain controls. A key filter for each band allows the active gain response to be as selective or broad as needed, based on the Q (bandwidth) control. Each band can use the input signal or selected side chain signal to trigger the active EQ response.
The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot. The AE400’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE400.
Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE400.
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!!
The SA-2 Dialog Processor is based on hardware originally conceived by Academy Award winning re-recording mixer Mike Minkler and used on over 100 major motion pictures. The SA-2 is designed to improve the overall sound of recorded speech. But the SA-2 is not just for dialog. It’s equally useful for vocals, and is a great tool for adjusting the timbre of any track, a reliable de-esser, and a fine multi-frequency compressor, in our completely biased opinion.
The SA-2 Dialog Processor is made up of 5 bands of strategic active equalization, configured in a variety of modes to best address common issues of dialog. Each band of active equalization has a threshold control to determine at what signal level the active equalizer begins to effect the signal. There are also enable buttons for each band to quickly audition the effect of any given band. Two mode selectors – one for controlling the ballistics of the active equalization, and a second for placing the five bands at strategic locations in the frequency spectrum. Finally, there are input and output gain controls for overall adjustment.
Channel G Compact
Channel G Compact delivers the same sonic experience as Channel G with a smaller DSP footprint and features calibration modes for music, post production, and models of the world’s most popular analog mixing desks. The Channel G Compact HD user interface seamlessly integrates with the Avid D-Control and D-Command control surfaces, as well as the Venue D-Show and Profile live sound consoles.
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.
Key filter options include high pass and band pass filtering. A unique focus control further enhances the key filter’s ability to separate ‘essing’ from actual dialog. The key filter output can also be monitored.
FutzBox is a distortion and noise generator plug-in for creating low fidelity versions of audio signals. 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.
In addition to the SIM library of sounds, FutzBox also includes filtering and EQ, distortion, a noise generator, and gating to complete the sonic destruction required. Original and distorted audio can be mixed in real-time to accommodate scene changes or other automation requirements.
MC2000 Multi-band Compressor
The MC2000 is a high-end multi-band compressor plug-in designed to emulate the sounds of vintage and modern compressors. There are three plug-ins in total with the MC2000 and they are the MC202 2-band compressor, the MC303 3-band compressor, and the MC 404 4-band compressor.
The MC2000 gives the user complete control of multi-band dynamic compression. Common controls such as output (make-up gain), threshold, compression (ratio), attack, and release are provided. Non-standard Knee and BITE controls allow unique and unprecedented articulation of compression characteristics. Multiple peak detection circuit types provide flexibility only previously achieved by owning several compression units. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent compression bands.
ML4000 Mastering Limiter
The ML4000 is a high-resolution limiter and multi-band dynamics processor designed for music, mastering, post, and live sound. The ML4000 consists of the ML1 mastering limiter and the ML4 multi-band Gate, Expander, and Compressor that feed into the ML1 mastering limiter
he 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.
The ML4 crossover page shows the overall frequency response in real-time of the input, output, or total dynamics effect, on top of the graphically adjustable crossover frequencies. Accurate output adjustment is fast and simple with output ceiling control, large meters, and meter level text readouts.
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.
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