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Fresh tools for your next session, newest first: 12 new plugins that each do one job well, and our latest creative and low-end effects.
Move a voice or an instrument from right at the mic to across the room, down the hall or across the street, on one knob. Every distance cue moves together, so it sounds further away, not just quieter or wetter: push a backing vocal behind the lead, place an ad lib off-mic, give a voice-over a far-off shout, or give your whole mix front-to-back depth.
Round the peaks off your master and bring the whole song up, about 3 dB louder at the default with no pumping. Set the shape from hard to round, choose clean, warm or gritty, and press MATCH to hear it at the same loudness.
Make your bass mono below the frequency you choose and keep everything above it wide, or wider. The low end stops drifting between the speakers and plays solid on club systems, vinyl, phones and one-speaker boxes, as loud as it was in stereo. Hear and see every change, at zero latency.
Wrap a voice, a guitar or a pad in a warm, softly swirling tail that blooms between the phrases and steps back while you sing. The whole lush recipe behind one LUSH knob: pre-delay, a chorus into the reverb, a moving tail, warm damping, width and ducking, at zero latency.
Every vocal EQ guide gives the same five steps: low cut, take out the mud, lift the presence, add air, tame the esses. Enunciator does all five in four knobs, and the cuts react to the voice, acting only on the boomy word, the harsh note or the sharp ess.
Distort your drums on purpose and keep what matters: snares that crack and spit, kicks with a fuzzy edge, the kick's sub kept clean and every hit kept sharp, at the same loudness. Four distortion characters made for drums, at zero latency.
Add the weight and the crack your drums never had: a tuned sub under the kicks, a crisp burst of noise on the snares and sharper fronts, at the same loudness. Best on full kits and loops, with one switch for a kick or a snare track alone.
Make any kick hit harder without layering samples: a tuned sub thump under every hit that follows how hard it lands, a harder front, a beater click that cuts through and harmonics for small speakers, all at the same loudness. Four kick recipes, at zero latency.
Clear, distinct repeats with a touch of early digital grit: the rack-delay sound behind a thousand guitar leads. Set the time and the number of echoes, lock them to your song, gallop with a second tap, or freeze them with HOLD. Zero latency, level-matched presets.
Boomy kicks, 808s that ring into the next hit, rumble and a woolly low mid: Bottom Line tightens the low end in one insert. Shorter ring between the hits, less mud, lows locked to the centre, at zero latency and at the same loudness.
One quick, tape-coloured repeat right behind the voice, the sound of 1950s records and of rock, soul and country vocals ever since. The voice stays dry and in front, the slap snaps to your tempo, and it adds no latency.
Two echoes at once, one on each side at its own rhythm, each repeating only on its own side. A mono vocal, guitar or synth opens out across the whole stereo field while the dry stays centred and in front, with a one-click mono check and zero latency.
Line up a kick's two mics, a snare top and bottom, close mics and overheads or a bass DI and its amp, so they add up instead of cancelling: full, solid lows that hold up in mono. Polarity, delay to a fraction of a sample and phase rotation, with a correlation meter and a picture of both mics' hits.
A stereo chorus and a tempo-synced echo in one: your part turns wide and silky and its echoes carry the same swirl. Put the chorus before the echo, as a pedalboard does, or inside it, so each repeat wobbles a little more. Zero latency, every preset level-matched.
Transformer iron saturates the low end first: bass and kick gain weight, harmonics and a rounded punch while the mids and highs stay clean. Push it with IRON, aim it with WEIGHT, pick a big clean transformer or a small cheap one, and four characters. Every setting level-matched.
Every note you play held up at full level for as long as you let it ring, following your bends and vibrato, with a feedback tone blooming in under it, as in front of a loud amp. Mute the strings and it stops at once. Zero latency, level-matched, made for DI guitar.
A treble booster pushing a built-in amp at the edge of breakup over into a bright, throaty, singing lead: the classic boost-into-a-cranked-amp chain in one plugin. Treble, upper-mid, mid or full-range boost, the amp's own gain, the guitar-volume clean-up trick, and the booster alone for your own amp sim. Every setting level-matched.
The classic passive tube EQ moves on three knobs: the low-end trick on LOW, a broad, silky lift of the air on TOP, and tube warmth and glue on TUBE. Pick the SOURCE, a kick, a bass, a vocal or a whole mix, and every knob is level-matched, so you hear the tone, not just louder.
The loud, dense, bright sound a song has on a hot FM station, in one insert: an AGC that evens out the quiet and loud parts, three bands that pack the mix together, the bass and the top lifted, and a limiter and clipper that hold every peak under -1 dBFS. Every song comes out at the station's own loudness, at zero latency.
Put it on your lead vocal, send it the music, and every line sits the same distance in front of the track: quiet words come up, loud belts come down, measured the way a loudness meter hears them. No compression sound, zero latency by default, and every move ready to print as automation.
Take the low thump out of every P and B after the fact, on singing, rap, podcasts and voice-overs. It cuts only while a pop is happening, so the consonant stays crisp and the voice keeps its body, with zero latency in LIVE for recording.
Recorded in a bedroom, a bathroom or a booth that rings? Dryer turns the room down where you hear it most: the tails after every word, note or hit and the gaps between them. One knob, zero latency, and DELTA to hear exactly what it takes away.
Big, generous echoes pulled out of the way under every phrase, blooming back in the gaps, in time with your song. Key the duck from your own track or from any other, a kick or a lead, through the sidechain input. Zero latency, and your dry vocal is never touched.
Insert it on a vocal, chords or a loop and the sound crumbles into a wide, moving cloud of its own grains. Two big knobs set how long each grain is and how many play at once, the cloud stays at your track's loudness, and one key holds it in the air.
Insert it on a guitar, keys, bass, synth or vocal and it quacks: on every note you play, rocked on the song's beat, or parked and swept under your hand. It sweeps the same on a quiet take or a loud one, the level stays even with the dry track, and it adds no latency.
Insert it on a drum mic, a guitar or a vocal and the hiss, hum and bleed between the notes go, while every hit and note comes through whole. It opens once and closes once on a fading note, FOCUS keys it on the drum you want, and three types close it hard, gently or by tone.
See the note of any sound to a tenth of a cent, on a needle or a strobe. HOLD keeps the note a kick, a sub or a sample settles on, and KEY shows exactly how far to shift it to your song's key. Zer0 only listens: your sound passes through bit for bit, with zero latency.
Insert it and a thin riff, synth line or vocal gets a thick copy an octave under it. CLEAN moves every note of a chord or a sung line at once; PEDAL is the zero-latency analog-style octaver for playing live. The whole sound stays at your track's loudness as the octaves come up.
Put on headphones and the sound leaves the middle of your head: in front of you, beside you, behind you or above you. Insert it and it is already circling you every 4 bars, locked to your song, in a small real room, every direction levelled to the dry sound so it never jumps in level. FOCUS keeps the movement for speakers and mono.
See your track over a whole bar, every window starting on the host's bar line, with a kick from its side input drawn under your bass and a POLARITY reading that says whether to flip it. Every sample is counted, so no peak is missed, and your audio passes through bit for bit with zero latency.
Warm, mid-forward overdrive from a light edge to a singing lead, with three voicings, a clean blend and a guitar speaker for DI tracks. The output stays at your dry track's loudness at every setting, DRIVE means the same on a quiet take and a hot one, and it adds no latency.
Sing, hum, whistle or play one note at a time and get the MIDI: live into your synth while you perform, and as a clip you drag onto a MIDI track, every note where you really started it and laid out on your bars. Your audio passes through untouched, with no latency.
See your mix's balance as one shape, set up the way mixing engineers set theirs, and point at any peak to read its frequency, its note with the cents and its true level. Octaview only reads the audio: your sound passes through bit for bit, with zero latency.
The notes you dig into come down, the ones you barely touch come up, and the line sits steady under the mix. A fast stage catches each note's attack, a slow one levels the rest, and a detector set for your bass keeps a low E, a long sub and a synth bass even, at the same loudness and zero latency.
Insert it on a vocal and it sings: Ironchoir hears the pitch you sing and plays a chord on it with its own synth, in the song's key, with no keyboard, no MIDI track and no routing. CLARITY keeps the words clear, the stereo spread folds safely to mono, and every preset is matched to your dry voice.
Harsh S, SH and T sounds are turned down the moment they fire, and the rest of the voice is left as it was. The threshold follows your track's level, so one setting does the same job on a quiet take and a loud one, with zero latency.
VS-L2A, VS-L3A, VS-F76, VS-T76, VS-V160, VS-N1, VS-GB, VS-M66, VS-E4, VS-Q4, VS-T12 and VS-E97: compressors, limiters, EQs, saturation and an enhancer, each built to do one job well with a few controls. Each one is also in its category: dynamics and compression, EQ and filtering, saturation and distortion or mastering.
Before the 12 came F-That Fourier for subs, pads and drones made from any sample, Rumbler for 808s played from MIDI, Ducker for kick and bass that stop colliding, and Crazy S for filter sweeps and vowel moves you draw instead of automating.
Browse every plugin by what you need it for: creative effects, dynamics and compression, EQ and filtering, reverb, saturation and distortion, pitch and bass and low end, or see all our plugins.
Every copy you buy runs on up to five of your own computers.
Most of our paid plugins have a free demo: the whole plugin, with no time limit, that goes silent for a moment every few seconds. Look for the free demo on the plugin's page.
Our plugins run on Windows and macOS, in DAWs that load VST3 or AU plug-ins, and many also come as AAX for Pro Tools. Each plugin's page lists its exact formats and system requirements.
Up to five of your own computers for each copy of a plugin you buy.
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Yes: every plugin comes with a 90-day money-back guarantee. Within 90 days of buying, email contact@voxsamples.com for a full refund.
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