Stillwell Audio Plugins Bundle 2026.09_WIN-MOCHA

混音插件套装Stillwell Audio Plugins Bundle 2026
VST插件格式：
VST/VST3/AAX/CLAP

Stillwell Audio Plugins Bundle 2026汇集全部22款付费插件，涵盖均衡、压缩、磁带变压器饱和、混响、频谱编辑、分析工具与虚拟合成器，兼顾混音母带及创意声音设计工作。

翻译：
Stillwell Audio 插件套装 2026
包含 Stillwell Audio 现有的所有付费插件，适用于各种宿主软件的商业合集。

包含：
1.1973 – 均衡器插件
2.Bad Buss Mojo – 失真/饱和/放大器插件
3.Bombardier – 总线压缩器插件
4.CMX – 立体声微移插件
5.Dyno – 动态（压缩器插件/限幅器插件)
6.Event Horizon – 动态（压缩器插件/限幅器插件)
7.Fe26 – 变压器模拟器插件
8.Hot Glass – 饱和插件
9.Major Tom – 压缩器插件
10.Olga – 合成器插件
11.Oligarc – 多效果插件
12.Oligarc Filter – 滤波器插件
13.Psycho Dither – 自适应抖动处理器/母带处理插件
14.Remanence – 磁带饱和插件
15.schOPE – 多信号分析插件
16.Sculpto – 动态（压缩器插件/限幅器插件)
17.Spectro – 频谱编辑器
18.The Rocket – 压缩器插件
19.Tinman – 共振滤波器插件
20.Transient Monster – 瞬态整形器插件
21.Verbiage – 混响插件
22.Vibe EQ – 均衡器插件

1. 1973
向史上最伟大的调音台均衡器之一致敬——它拥有极致的透明度与顺滑感。
Neve* 1073 堪称有史以来最出色的大型调音台通道模块之一。它音色有力、细节丰富……在那个年代，几乎怎么调都不会难听。我们暂且不争论“铁芯电感/纸介电容”与“电解电容”孰优孰劣，而是来探讨一下它在选择均衡频率、带宽和斜率方面所展现出的非凡智慧。

这正是 1973 插件的设计理念：它并非单纯的仿真复刻，而是一次致敬。它汲取了经典设计的精髓，将其提炼升华，并赋予了极致透明与顺滑的音质特性。

高频提升顺滑细腻，即便在极高增益设置下，也不会产生刺耳感。

利用高通滤波器（Hi-Pass）精准把控低频下限，同时配合顺滑的低频搁架式均衡（Low Shelf）平衡低频质感。

灵活的中频塑形功能，配备可切换的自适应模式：在低增益/衰减量下，音色顺滑且富有乐感；随着增益/衰减量的增加，处理效果则愈发精准、细腻，如同手术刀般精细。

CPU 占用率低，即使开启可选的过采样（oversampling）功能，依然保持高效运行。

2. Bad Buss Mojo
一套完整的非线性处理工具包——涵盖从顺滑的变压器音色到醇厚电子管音色的各种质感。
有时，数字音频过于“完美”，反而无法满足你想要的音色需求。

Bad Buss Mojo 允许你为虚拟混音总线放大器调节特定的非线性特性，包括电压轨（rail）行为、电源响应以及饱和度特征。

它可以实现从“难以察觉却让混音听感更佳”的微妙提升，到“刻意营造粗粝感”的明显音染效果。

可调节的虚拟混音总线非线性与饱和度特性。

可调节的电压轨行为与电源式响应特性。

音色范围涵盖从微妙增强到强烈音染的各种效果。

专为营造“透明质感”与“刻意粗粝感”而设计。

3. Bombardier
总线压缩器，专为顺滑、富有乐感地处理复杂音频信号而打造。
Bombardier 是一款总线压缩器，旨在对鼓组、人声分轨（stems）及完整立体声混音等复杂音频素材进行顺滑且富有乐感的处理。

其 RMS 压缩引擎使其特别适用于混音总线和母带处理场景，同时也非常适合在混音初期就挂载压缩器进行处理的工作流。

归根结底，压缩处理的本质在于平衡听觉感受与电平表显示的数值。 Bombardier 附带了丰富的预设，为您在微调出理想音色时提供实用的起点。

它还致敬了经典硬件总线压缩器的特性，当您需要更具个性的音色时，可以使用其非线性和频率相关的动态响应。

“Bomb”模式提供近乎瞬时的启动（attack）和释放（release）响应，同时保持异常平滑的增益衰减，适用范围涵盖从母带级的润色到极具侵略性的单轨音效处理。

具备 RMS 引擎特性的母带级总线压缩。

可切换的检测电路拓扑结构及预加重（pre-emphasis）滤波选项。

包含 Drive（激励）、Sag（下垂/软削波）和并行压缩控制功能。

独特的超高速“Bomb”模式，实现平滑且即时的增益控制。

包含大量预设的资源库，助您快速上手。

4. CMX
利用延迟和极高品质的音高偏移（pitch shift）技术来增强声音厚度。是时候淘汰那些笨重的 80 年代机架式设备了……
CMX 通过复制信号并在左右声道分别施加微量的音高偏移和延迟，从而加厚并增强单声道音频。

这种经典的微移（micro-shift）处理方式在人声和主旋律乐器上效果尤佳。轻度使用时，CMX 能增加声音的存在感与扎实度；重度使用时，则能营造出一种精致、宽广且极具专业制作感的音色。

CMX 采用了专为此类应用场景设计的 Schwa 音高识别与偏移算法。该算法针对微小偏移（范围从 1 音分到约四分之一个音调）进行了优化，确保了平滑的动态响应和极佳的相位一致性。

对于音质要求极高、且音轨细节完全暴露（无遮掩）的场景，CMX 都能让您放心使用，绝无令人不悦的音质瑕疵（artifacts）。

通过左右声道独立的微量音高偏移和延迟，增加单声道音源的厚度。

设置温和时增加微妙的丰满感；设置激进时则带来丰富且具有“高昂制作成本”质感的深度感。

采用高品质 Schwa 音高算法，针对微小、精确的音高偏移进行了优化。

保持相位一致性，非常适合处理突出的主旋律乐器或人声素材。

5. Dyno
基于阈值的图形化动态包络编辑器。
Dyno 是一款基于阈值的动态包络编辑器，让您可以直接掌控动态，既可用作瞬态整形器（transient designer）、压缩器、扩展器，也能满足声音设计等多种需求。

通过直观的图形化检测电路捕捉瞬态和波形峰值，随后绘制高阶贝塞尔曲线（Bezier curves）来精细塑造动态。

无论是为军鼓（snare）增添冲击力、为镲片（cymbal）增加嘶嘶质感，还是将贝斯声部转变为更具侵略性的音色，Dyno 都能胜任。所有操作均实时进行，且 CPU 占用极低。

基于阈值的动态包络编辑，用于控制瞬态和峰值。

用于捕捉瞬态和波形峰值的图形化检测电路。

高阶贝塞尔曲线编辑，实现精细的动态塑形。

低 CPU 占用的实时处理。

6. Event Horizo​​n
采用软削波（soft-clipping）技术，实现极度透明的响度提升。绝无抽吸效应（pumping）、瞬态失真或频率伪影。

它是一款“峰值削减型限制器（peak-eating limiter）”。通俗地说，它就是一个带有可选软削波电路的削波器：输入什么就输出什么，只是音量变大了。

如果处理过度，它会迅速提示你已超出最佳工作范围。如果你需要传统的、高质量的预读（lookahead）限制功能，Event Horizo​​n 同样能满足。

使用简单：设置阈值（决定处理深度）、设置上限（目标输出电平），并根据需要调整削波柔和度。然后，相信你的耳朵。

软削波限制，实现透明的响度提升。

无抽吸效应、无瞬态失真、无频率伪影、零延迟。

支持传统预读限制模式，便于进行直接的 A/B 对比。

简单的工作流程：阈值、上限、削波柔和度设置。

7. Fe26
通过模拟变压器特性，增加声音的重量感、密度和谐波结构。

设计精良的变压器级模拟。

Fe26 将变压器特性模拟为电路行为——具有电平依赖性和节目信号敏感性，且易于使用。它能赋予声音重量感、密度以及真实铁芯变压器特有的微妙变化：低频紧实而不发散，高频则随着驱动力度的增加而自然平滑。

无模式切换，无复杂菜单。仅有输入（Input）、输出（Output）和驱动（Drive）控制。

在低设置下，其音染几乎难以察觉。加大驱动量，谐波、密度与凝聚感便会随之而来——这并非通过分层叠加实现，而是源于对电路级（stage）的深度驱动。

将其用于 DI 贝斯以增强厚度；用于鼓组总线以提升融合度；用于混音总线以获得浑然天成、而非刻意加工的质感；或者将其应用到所有轨道上。

基于电路建模的变压器级（Transformer stage）。

响应信号而非预设参数的动态特性。

低设置下近乎透明；高驱动下音色厚实且极具存在感。

低频紧实而不浑浊；高频在驱动下自然柔化。

连续可调的驱动（Drive）控制——无需切换模式或菜单。

适用于 DI 轨道、总线及完整混音，无需频繁调整设置。

8. Hot Glass
具备增益补偿功能的电子管饱和效果：带来谐波丰满度与密度，同时无需担心音量突变。
化繁为简的电子管饱和效果。

Hot Glass 将电子管级建模为真实电路。Drive（驱动）旋钮控制该级的激励程度，在引入谐波密度与丰满感的同时，内部补偿机制确保音色变化主要体现在质感而非音量上。

先调节 Drive 设定电子管音色的强度，再利用 Output（输出）进行最终的电平匹配。

当信号需要增强厚度与谐波结构，同时又要保持原有形态时，可将其用于人声、DI 轨道、鼓组、总线或完整混音。

基于电路建模的电子管级。

Drive 增加谐波密度，并包含内部增益补偿。

Output 控制用于最终电平匹配。

带增益补偿的 Drive 让 A/B 对比更加客观真实。

4倍过采样（Oversampling）确保生成的谐波纯净无杂质。

9. Major Tom
音色绝佳且充满创意的压缩器，具备自适应启动（Attack）与释放（Release）时间——从平滑细腻到狂野咆哮，应有尽有！
Major Tom 绝非普通的压缩器。它的设计初衷明确，且最终表现远超预期。

Major Tom 旨在提供易用体验：它没有传统的启动（Attack）和释放（Release）时间控制旋钮。这些参数会根据信号电平相对于阈值（Threshold）的关系自动变化。经过精心调校的参数确保了压缩效果的音乐性，让你无需在复杂的控制面板前费力调试。

其启动与释放特性灵感源自经典的“隐形（stealth）”风格复古压缩器。在重度驱动下，Major Tom 会产生“抽吸（pumping）”效应，但这种效果极具音乐性和律动感。

轻度使用可平滑人声；用于贝斯可增加厚度；用于鼓组则能带来更强烈的冲击力（smack）。大幅度的增益衰减能带来狂野且充满律动感的音色；而在较轻的设置下，声音则保持细腻圆润与受控。

采用源自经典 dbx 风格工作流程的“随信号动态调整”式启动（Attack）与释放（Release）机制。

操控简便，助您快速获得富有音乐性的压缩效果。

既能实现细腻的动态平滑处理，也能营造强烈的律动“抽吸感”（pumping）。

专为鼓组、贝斯、人声以及需要独特音色的混音元素而调校。

10. Olga
一款独树一帜的虚拟模拟合成器，从底层原理出发，旨在打造独特的个性。
Olga 是一款虚拟模拟合成器，其设计初衷是赋予声音鲜活感、不稳定性以及丰富的音乐性。

Olga 不追求死板的完美，而是鼓励探索与尝试。它既能呈现细腻的动态与温暖音色，也能营造出生动、狂野的质感，听起来更像真实的乐器，而非静态的数字模型。

独特的虚拟模拟乐器，主打鲜明个性和不可预测的音色变化。

采用自由振荡（free-running）振荡器，具备极具音乐性的模拟风格不稳定性。

整个信号通路中包含丰富的非线性饱和与过载特性。

鼓励探索性的声音设计，而非仅仅依赖预设的工作流程。

11. Oligarc
专为创意人士打造的滤波、合唱、移相及失真（Drive）效果器。音色独特，应用灵活。
独立模块
Oligarc 套装包含各核心处理器的独立版本，支持快速、直接的工作流程。

Oligarc Drive 提供从细腻温暖到强烈音染的模拟风格饱和效果。

Oligarc Phaser 超越了经典的模拟复刻，拓展了动态与质感设计的可能性。

Oligarc Chorus 经过精心调校，在营造宽广空间感的同时，减少了循环重复感。

Oligarc 将四种集成效果器整合于单一模块化环境中，通过灵活的调制源相互连接，可同时控制多个参数。

您可以将 Oligarc 配置为 LFO 驱动的滤波器、响应包络的移相器、门限触发的饱和处理器，或是随输入信号变化的复合效果器。

滤波部分采用了 Olga 的模拟梯形滤波器（ladder filter）模型，具备音乐性的非线性特征和自激振荡共振效果。Oligarc 既能表现得温润细腻，也能在极端设置下呈现出刻意的不稳定感与破坏性音色。

统一调制系统
包络跟随器、门限触发 ADSR 和双 LFO 调制源可同时作用于主要效果参数，并支持与工程速度同步的动态变化。

调制控制是所有模块的核心：包络跟随器、ADSR 和两个 LFO（支持可选的速度同步）使 Oligarc 既适用于常规混音修饰，也胜任实验性声音设计。

四种集成效果器，配备统一的调制控制系统。

支持音频响应包络跟随、门限触发 ADSR 及双 LFO 调制。

包含独立的 Oligarc Drive、Phaser 和 Chorus 模块。

既支持细腻的音色增强，也能实现极端的、颠覆性的声音设计。

12. Oligarc Filter
源自 Olga 和 Oligarc 插件的经典模拟梯形滤波器（ladder filter）的高级仿真，具备非线性、不稳定性及独特的音乐性特征。
Oligarc Filter 是一款支持完整 MIDI 控制的独立滤波器插件。其核心基于 Olga 和 Oligarc 中的模拟梯形滤波器模型，完美再现了该类滤波器的非线性响应、不稳定性以及富有音乐感的音色特质。

提供低通、宽带通或窄带通模式供选择。您可以大幅度扫频（cutoff sweep），将共振（resonance）推至自激振荡状态，并塑造从微妙动态变化到极度不稳定音色的各种音效。

内置软削波（soft-clipping）砖墙限制器（brickwall limiter），可在信号电平剧烈波动时保护输出安全。

可选滤波器类型：低通、宽带通或窄带通。

大尺寸截止频率（cutoff frequency）控制旋钮，便于进行富有表现力的扫频操作。

共振功能，高设置下可产生自激振荡效果。

内置软削波砖墙限制器，用于保护输出信号。

13. Psycho Dither
一种能够根据音频信号实时响应的自适应抖动（dither）算法，旨在最大程度地保留动态范围……
一种能够根据信号实时响应的自适应抖动算法，可在任意目标位深下最大程度地保留动态范围。

选择抖动色彩（dither color）并调节心理声学噪声整形（psychoacoustic noise shaping）参数，从而为最终渲染结果设定理想的音色质感（硬度或柔和度）。

当需要在受限的消费级格式或旧式硬件设备上保持高保真音质时，该插件尤为实用。

具备心理声学特性的自适应抖动算法。

在降低位深时保留动态范围。

提供两种抖动色彩选择。

针对受限播放环境，在低位深下仍能保持高保真音质。

14. Remanence
一款完整的开盘式磁带（reel-to-reel）模拟器。包含四种磁带配方、三种运行速度以及偏置（bias）微调功能——提供如真实磁带般的饱和响应。
将磁带饱和效应模拟为一个完整的系统。

Remanence 完整复现了开盘式磁带的信号链路：输入增益、录音均衡（EQ）、磁头磁化、放音均衡以及磁隙损耗。各级电路之间相互作用，正如真实磁带设备那样——它不仅仅是在末端添加的孤立音色，而是一条从信号接触磁头那一刻起就开始塑造声音的完整链路。

选择一种磁带配方。456 配方声音厚实、饱和度高且带有底噪——这正是大多数人提到“磁带音色”时所指的声音。SM900 配方线性且安静，适合在需要磁带特性但又不希望音色过于浓重时使用。GP9 和 499 配方则介于两者之间。

根据所需的带宽和均衡曲线设置速度。15 IPS（英寸/秒）为基准速度。7.5 IPS 带来更突出的低频和高频衰减（roll-off）效果。30 IPS 则能延展高频响应并降低底噪。

偏置（Bias）微调功能可改变磁头对高频信号的响应特性。过偏置（over-biasing）会逐渐削弱短波长信号——这是一种基于物理原理的方法，无需使用均衡器即可降低明亮音源的密度感。

将其用于人声，可获得自然而不突兀的温暖感。用于鼓组，能像磁带那样将各鼓件的声音自然融合（glue），无需压缩器。用于混音总线（mix bus），能带来整体凝聚力，让音轨听起来像是录音质量极佳，而非经过了后期处理。

基于电路原理模拟完整的开盘式磁带信号链路。

四种磁带配方，涵盖从厚实饱和到线性安静的各种音色。

三种磁带速度，具备真实的均衡曲线和噪声特性。

偏置微调功能，可精确控制高频密度。

可选的磁带底噪（hiss），根据配方和速度自动校准。

4倍过采样（oversampling），确保准确的瞬态响应和饱和效果。

15. schOPE
不限格式的对比分析工具，支持波形、频率或相位对比。具备冻结、缩放和逐帧浏览（scrub）功能。
schOPE 是一款灵活的信号分析工具，提供三种模式，用于实时检查多个音频源之间的相互关系。利用它来比较压缩前后的信号，对齐底鼓（kick）与贝斯（bass）的相互作用，检查 DI 信号与音箱模拟信号之间的相位关系，并精准定位频谱或瞬态特征发生变化的位置。

“时间模式”（Time Mode）可同时显示多达四条波形，支持峰值保持（freeze）、交互式缩放/平移以及可见窗口内的 RMS（均方根）数值读数。

“频率模式”（Freq Mode）可叠加显示多通道频谱功率，便于直接比较信号内容；支持调节 FFT 尺寸和缩放范围，助您做出切实的混音决策。

“相位模式”（Phase Mode）提供双立体声（dual-stereo）相位分析功能，可快速诊断立体声平衡、声像（panning）表现及相位抵消问题。

在 VST3 宿主软件中，利用侧链（sidechain）路由功能，schOPE 可作为双立体声分析仪运行（通道 1/2 和 3/4），使跨信号检查在复杂工程中更具实用价值。

在同一分析视图中同时比较多达四个通道。

支持冻结、缩放、平移及“搓擦”（scrub）操作，以便详细检查瞬态特征。

分析波形、频率内容及​​立体声相位关系。

支持 VST3 侧链路由，实现多通道双立体声工作流。

16. Sculpto
波形重塑工具，可直接且强力地控制任意音频的动态特性。
Sculpto 是一款波形重塑工具，赋予用户对音频动态的直接控制权。通过绘制贝塞尔曲线（Bezier curves）来定义处理效果，范围涵盖从柔和的包络式缩放、可变的软削波（soft clipping），到能彻底改变动态特性的硬削波（hard clipping）。

所有处理均实时、非破坏性地进行，且 CPU 占用率低。

具备时间轴导航与循环（loop）检测功能，让您能完全掌控 DAW 工程，无论是处理循环小节还是针对特定细节进行精细调整，都游刃有余。

Sculpto 既是日常实用的动态处理工具，也是用于有意音频解构的强大创意处理器。

支持削波峰值恢复，并提供平滑、可重复的重塑效果。

通过直接绘制包络曲线来塑造瞬态特征。

可创造从微妙动态变化到极端的“抽吸感”（pumping）及声音扭曲（mangling）等各种特效。

实时、非破坏性处理，CPU 占用率低。

17. Spectro
强大的非破坏性实时频谱编辑工具，无需离开宿主应用程序即可使用。
Spectro 是一款实时频谱编辑器。您只需在特定时间段内的特定频率区域绘制选框，即可仅针对该时间窗口内的这些频率进行编辑。它专为实用清理与细节处理而设计，无需离开宿主软件即可操作：无论是意外噪声、伴随出现的人声或乐器杂音，还是棘手的谐波堆积问题，都能被快速定位并进行调整。

音频错误：快速锁定并静音意外噪声。

伴随噪声：以自然透明的方式抑制唇齿音、齿音及拨弦杂音。

谐波串扰：分离泛音频段并重新平衡特定音符。

18. The Rocket
The Rocket 是一款主打“个性化音色”的音频压缩器，专为极速响应而设计，能以微秒级速度响应节目电平的变化……
The Rocket 是一款主打“个性化音色”的音频压缩器，专为极速响应而设计，能以微秒级速度响应节目电平的变化。它的速度比大多数普通压缩器快数千倍，能带来极具冲击力的压缩效果。

在 44.1kHz 采样率下，单个采样点仅持续 22.6 微秒。The Rocket 的启动时间（attack time）甚至能低于这一数值，从而确保即便是第一个采样点也能得到完​​全控制。在总线（master bus）上使用时，它能像“砖墙限制器”（brickwall limiter）一样有效抑制瞬态峰值。

在 The Rocket 的“Impetus”电路中，温暖感与侵略性特质通过 DSP 技术完美融合：既能实现细腻的音乐性增益衰减，也能在强力驱动下产生粗犷、厚重且极具冲击力的压缩效果。

具有独特音色特性的超高速压缩器。

包含“All Buttons”（全按键）压缩比模式。

简单易用的单旋钮并行压缩功能。

支持兼容宿主软件的侧链（sidechain）功能。

CPU 占用率低，即使开启可选的过采样（oversampling）功能也不例外。

19. Tinman
由实时复音音高检测驱动的智能共振滤波器。试试用它处理……任何声音。所有声音。现在就试试吧……
Tinman 是一款自动峰值共振滤波器，由实时复音音高检测和针对每个音高的起音/衰减（attack/decay）包络控制驱动。

实际使用中，Tinman 会分析输入音频，识别出最强的音高成分，并生成相应的共振器来实时追踪这些音高的变化——即使音高并不符合标准音阶。

在保守设置下，Tinman 能为平淡的音轨增添动态起伏与丰富的谐波色彩；在激进设置下，它能产生独特的、类似人声的、“诡异”的共振质感，从而彻底重塑原始音频。

其音高检测系统会对输入信号中的主导成分进行排序，应用阈值与范围滤波，并在源信号变化时保持每个共振器的动态匹配，最后在源信号消失时自然释放。

实时复音音高追踪共振器。

根据检测到的输入音高触发 1 到 4 个共振器。

每个共振器均具备独立的起音/衰减触发特性。

可追踪滑音（sliding notes），并在音高信号结束时自然释放。

20. Transient Monster
完全独立于整体增益，精准控制鼓、贝斯、吉他及所有具有尖锐瞬态特征声音的瞬态（transient）与延音（sustain）成分。
极致简约，一目了然。它能拯救你的鼓组混音。

两个控制参数：Attack（起音/冲击力）和 Sustain（延音/持续度）。

将其加载到鼓组总线（drum bus）上并调节旋钮。如果演奏有律动感但缺乏冲击力（snap），调高 Attack；如果镲片声音衰减过快，调高 Sustain；如果余音过长或串音（bleed）严重，调低 Sustain。

两个核心控制参数：Attack 和 Sustain。

快速、与增益无关的瞬态（transient）塑形。

根据需要增加冲击力、余音或延音。

通过降低 Sustain 减少串音和不必要的衰减尾音。

21. Verbiage
一款高度可控、灵活且内置门限（gate）功能的算法立体声混响插件。
在卷积混响出现之前，优秀的混响效果主要依靠算法实现。

Verbiage 延续了这一传统：它是一款基于基础原理构建的算法混响，兼具深度控制能力与实用的灵活性。

它的设计初衷并非像卷积混响工具那样去精确模拟真实的物理空间，而是旨在美化音轨，以高度可控的方式增添音色特质、光泽感（shimmer）和深度感。

可独立控制早期反射（early reflections）和晚期反射（late reflections）。

立体声/单声道输入混合及立体声宽度输出控制。

湿声通道反转（flip）功能，可实现交叉混响空间效果。

内置高通滤波和门限控制功能。

22. Vibe EQ
这是一款即便仅做细微调节也能立即使音色更出色的均衡器。Vibe EQ……
Vibe EQ 属于那种即便设置幅度很小，也能立即使音色更出色的均衡器。

不妨看看我们的顶级纯净型均衡器 1973：我们致力于为选定频率提供平滑、透明的控制，因为这往往正是均衡器最需要实现的功能。但有时，你也需要一款能够塑造特定频率音色特质的均衡器。

这正是 Vibe EQ 的定位。

Vibe EQ 的精髓在于音色渲染（color）。提升或衰减的幅度越大，选定频率处的谐波变化就越丰富，从而带来更浓郁的音色特质和独特的律动感（funk）。在输出总线、子混音轨或人声上轻度使用，可获得温暖且富有音乐性的平衡感；而在吉他、贝斯或鼓组上加大处理力度，则能有力地捕捉并强化音色的核心特质。

丰富且富有音色渲染效果的均衡处理。

高频搁架（high shelf）滤波器及两个重叠的中频频段。

利用高通滤波和平滑的低频搁架（low shelf）滤波器，同时对低频段进行上下两端的塑形控制。输出音量控制。

CPU 占用率低，即使开启可选的过采样功能也是如此。
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原文：
Stillwell Audio Plugins Bundle 2026.09
Every current Stillwell Audio paid plugin in one all-hosts commercial collection.

Includes:
1.1973
2.Bad Buss Mojo
3.Bombardier
4.CMX
5.Dyno
6.Event Horizon
7.Fe26
8.Hot Glass
9.Major Tom
10.Olga
11.Oligarc
12.Oligarc Filter
13.Psycho Dither
14.Remanence
15.schOPE
16.Sculpto
17.Spectro
18.The Rocket
19.Tinman
20.Transient Monster
21.Verbiage
22.Vibe EQ

1. 1973
A tribute to the utter transparency and smoothness of one of the greatest console equalizers of all time.
The Neve* 1073 is probably one of the best large-format console channel modules ever made. Punchy, detailed… it was almost impossible to make it sound bad… for its time. Let’s not debate about large chunks of iron and wax/paper versus electrolytic caps. Let’s talk about the sheer genius involved in picking the proper EQ frequencies, bandwidths, and slopes.

This is where 1973 is coming from: not an emulation, but a tribute. Taking the best features and reducing them down to their essence, then making it utterly transparent and smooth.

Exceptionally smooth and detailed high frequency boost, even at unexpectedly high settings, without shredding eardrums.

Simultaneously bracket your low end with Hi-Pass and balance it with the smooth low shelf.

Flexible midrange contouring with switchable adaptive mode: smooth and musical at low levels of boost/cut, and progressively more surgical and precise at higher levels.

Low CPU usage, even with the optional oversampling engaged.

2. Bad Buss Mojo
Your complete non-linearity toolkit – from smooth transformer to rich and valve-like.
Sometimes digital is simply too perfect for the sound you want.

Bad Buss Mojo lets you dial specific nonlinearity into a virtual mix-bus amplifier: rail behavior, power response, and saturation character.

It can move from “I can barely hear it, but the mix feels better” to overt, intentionally dirty coloration when you push it.

Dialable virtual mix-bus nonlinearity and saturation.

Adjustable rail behavior and power-supply style response.

Character range from subtle enhancement to aggressive coloration.

Designed for both transparent mojo and deliberate grit.

3.Bombardier
Bus compressor, tailored for smooth and musical processing of complex audio.
Bombardier is a buss compressor designed for smooth, musical processing of complex material such as drum groups, vocal stems, and full stereo mixes.

Its RMS compression engine makes it especially suitable for mix-bus and mastering roles, including workflows where you mix into the compressor from the start.

Compression is ultimately about balancing what you hear with what meters show. Bombardier includes a broad preset set to provide useful starting points while you dial in your own result.

It also nods to classic hardware buss-compression character, with nonlinear and frequency-variant behavior available when you want more attitude.

Bomb mode provides effectively instantaneous attack/release behavior with unusually smooth gain reduction, from mastering polish to aggressive single-track effects.

Mastering-grade buss compression with RMS engine behavior.

Switchable detector topology and pre-emphasis filter options.

Drive, sag, and parallel compression controls.

Unique ultra-fast Bomb mode for smooth, immediate gain control.

Deep preset library for fast starting points.

4.CMX
Thickening with delay and exceptionally high quality pitch shift. Retire your big eighties rack today…
CMX thickens and enhances monophonic audio by doubling the signal and applying small amounts of pitch shift and delay to each side.

This classic microshifter approach works especially well on vocals and lead lines. Used lightly, CMX adds presence and solidity; used more heavily, it can create a polished, wider, deliberately produced sound.

CMX uses a Schwa pitch-identification and shifting algorithm designed for this exact use case. It is tuned for very small shifts, from one cent to roughly a quarter-tone, with smooth behavior and strong phase coherence.

For high-quality, exposed tracks where artifacts are unacceptable, CMX is built to be used confidently.

Thickens mono sources with independent micro pitch shifts and delays per side.

Adds subtle fullness at gentle settings or rich “expensive production” depth when pushed.

High-quality Schwa pitch algorithm optimized for tiny, precise shifts.

Maintains phase coherence for exposed lead and vocal material.

5.Dyno
Graphic threshold-driven dynamic envelope editor.
A threshold-driven dynamic envelope editor. Dyno gives you direct control over dynamics as a transient designer, compressor, expander, sound designer, and more.

Adjust an intuitive graphical detection circuit to capture transients and waveform peaks, then draw high-order Bezier curves to shape those dynamics.

Use Dyno for anything from adding snap to a snare or sizzle to a cymbal, to morphing a bass line into something far more aggressive. All in real time with very low CPU usage.

Threshold-driven dynamic envelope editing for transient and peak control.

Graphic detection circuit for capturing transients and waveform peaks.

High-order Bezier curve editing for detailed dynamic sculpting.

Real-time processing with low CPU usage.

6.Event Horizon
Soft-clipping for VERY transparent loudness increases. No pumping, transient or frequency artifacts whatsoever.
It’s a “peak-eating limiter.” A practical description is a clipper with an optional soft-clip circuit: what comes in is what comes out, only louder.

Push it too hard and it tells you quickly when you’re beyond its sweet spot. If you want traditional high-quality lookahead limiting instead, Event Horizon does that too.

It’s simple to use: set threshold for how deep to dig, set ceiling for your target output, and set clipping softness if needed. Then trust your ears.

Soft-clip limiting for transparent loudness increases.

Zero pumping, zero transient artifacts, zero frequency artifacts, zero latency.

Traditional lookahead limiting mode for direct A/B comparison.

Simple threshold, ceiling, and clipping softness workflow.

7.Fe26
Adds weight, density, and harmonic structure through modeled transformer behavior.
Transformer stage, done right.

Fe26 models transformer behavior as a circuit — level-dependent, program-sensitive, and simple to use. It adds weight, density, and the subtle changes that come from real iron: low end that firms up instead of blooming, and a top end that smooths naturally as you lean into it.

No modes. No menus. Input, Output, and Drive.

At low settings it’s nearly invisible. Push it, and the harmonics, density, and cohesion arrive together — not because they’re layered in, but because the stage is being driven harder.

Put it on a DI bass for body. On a drum bus for glue. On the mix bus for that finished, not-processed feel. Or on everything.

Transformer stage modeled as a circuit.

Level-dependent behavior that responds to signal, not presets.

Nearly transparent at low settings. Thick and present when pushed.

Low end firms up without bloating. Top end softens naturally under drive.

Continuous drive control — no modes, no menus.

Works on DI tracks, buses, and full mixes without rethinking settings.

8.Hot Glass
Valve saturation with gain-compensated Drive: harmonic bloom and density without the level chase.
Valve saturation, simplified.

Hot Glass models a valve stage as a circuit. Drive controls how hard that stage is pushed, bringing in harmonic density and bloom while internal compensation keeps the change about color rather than loudness.

Set Drive for the amount of valve character, then use Output for final level matching.

Use it on vocals, DI tracks, drums, buses, or a full mix when the signal needs more body and harmonic structure without losing its shape.

Valve stage modeled as a circuit.

Drive adds harmonic density with internal gain compensation.

Output control for final level matching.

Gain-compensated Drive makes A/B decisions honest.

4x oversampling to keep generated harmonics clean.

9.Major Tom
Glorious and creative compression with adaptive attack and release – from smooth to snarling!
Major Tom is not your ordinary compressor. It was designed with very specific goals in mind, and blew right past them.

Major Tom is intended to be easy to use: there are no attack and release controls. Those values vary depending on the level of the signal relative to its threshold. They are finely tuned to keep compression musical without making you fight a huge control surface.

The attack and release behavior is inspired by classic “stealth” vintage compression. Major Tom will pump when pushed, but it does so in a musical, rhythmic way.

Use it gently on vocals for smoothing, on bass for thickness, and on drums when you want extra smack. Heavy gain reduction can make it savage and funky; lighter settings stay polished and controlled.

Program-dependent attack and release inspired by a classic dbx-style workflow.

Easy to use controls for fast, musical compression results.

Can move from subtle smoothing to aggressive rhythmic pumping.

Tuned for drums, bass, vocals, and mix elements that need character.

10.Olga
Virtual analog synthesizer unlike any other, designed from first principles to be distinctive.
Olga is a virtual analog synthesizer designed from first principles to feel alive, unstable, and musical.

Instead of chasing sterile perfection, Olga rewards experimentation. It can move from subtle movement and warmth to vivid, unruly textures that feel like a real instrument rather than a static model.

Distinctive virtual-analog instrument designed for character and unpredictability.

Free-running oscillators with deeply musical analog-style instability.

Rich nonlinear saturation and overdrive behavior across the signal path.

Encourages exploratory sound design over preset-first workflow.

11.Oligarc
Filter, chorus, phaser and drive for the creative at heart. Unique in sound, flexible in execution.
Standalone Modules
The Oligarc package includes dedicated versions of its core processors for fast, direct workflows.

Oligarc Drive adds analog-style saturation from subtle warmth to heavy coloration.

Oligarc Phaser extends beyond classic emulation into broader movement and texture design.

Oligarc Chorus is tuned for lush width with reduced cyclic repetition.

Oligarc combines four integrated effects in a single modular environment, linked by flexible modulation sources that can target multiple parameters at once.

You can configure Oligarc as an LFO-driven filter, an envelope-reactive phaser, a gate-triggered saturation processor, or layered hybrid effects that evolve with the input signal.

The filter section uses the analog ladder model from Olga, including musical nonlinearity and self-oscillating resonance. Oligarc can be gentle and polished, or intentionally unstable and destructive when pushed into extreme settings.

Unified Modulation
Envelope follower, gate-triggered ADSR, and dual LFO sources can target major effect parameters simultaneously, including project tempo synced movement.

Across all modules, modulation control is central: envelope follower, ADSR, and two LFOs (with optional tempo sync) make Oligarc equally useful for corrective mix work and experimental sound design.

Four integrated effects with unified modulation control.

Audio-reactive envelope follower, gate-triggered ADSR, and dual LFO modulation.

Includes standalone Oligarc Drive, Phaser, and Chorus modules.

Supports both subtle enhancement and extreme, transformative sound design.

12.Oligarc Filter
License-neutral The sophisticated emulation of a classic analog ladder filter taken from Olga and Oligarc.
Oligarc Filter is a fully MIDI-controllable standalone filter plugin. At its core is the analog ladder filter model from Olga and Oligarc, including nonlinearity, instability, and musical character.

Choose from lowpass, wide bandpass, or narrow bandpass modes. Sweep the cutoff aggressively, push resonance into self-oscillation, and shape tone from subtle movement to unstable extremes.

A soft-clipping brickwall limiter is included to protect output levels when things get wild.

Selectable filter shape: lowpass, wide bandpass, or narrow bandpass.

Large cutoff frequency control for expressive filter sweeps.

Resonance with self-oscillation at high settings.

Built-in soft-clipping brickwall limiter for output protection.

13.Psycho Dither
Adaptive dither that reacts in real-time to the signal audio to preserve the maximum possible dynamic rang…
Adaptive dither that reacts in real time to the signal and preserves as much dynamic range as possible at any target bit depth.

Select a dither color and dial psychoacoustic noise shaping to choose the right hardness or softness for your final renders.

It is especially useful when you need robust fidelity in constrained consumer formats or legacy hardware targets.

Adaptive dither with psychoacoustic behavior.

Preserve dynamic range when reducing bit depth.

Choice of two dither colors.

High fidelity at low bit depths for constrained playback targets.

14.Remanence
A complete reel-to-reel tape emulator. Four formulas, three speeds, and a bias trim — saturation that responds like the real thing.
Tape saturation, modeled as a system.

Remanence runs the complete reel-to-reel signal chain: input gain, record equalization, head magnetization, playback EQ, and gap loss. Each stage interacts with the others the way they do on real tape — not as isolated color added at the end, but as a chain that shapes the signal from the moment it hits the heads.

Choose a formula. 456 is thick, saturating, and noisy — the sound most people mean when they say “tape.” SM900 is linear and quiet, useful when you want the behavior without the character. GP9 and 499 sit between them.

Set the speed for the bandwidth and EQ curve you want. 15 IPS is the reference. 7.5 gives you more low-end emphasis and HF rolloff. 30 IPS opens up the top end and lowers the noise floor.

The Bias trim shifts what the heads hold onto at high frequencies. Over-biasing progressively erases short wavelengths — a physically grounded way to pull density out of bright sources without touching an EQ.

Put it on a vocal for warmth that doesn’t announce itself. On drums for the way tape glues a kit without a compressor. On a mix bus for cohesion that sounds like the track was recorded well, not processed.

Complete reel-to-reel signal chain modeled as a circuit.

Four tape formulas from thick and saturating to linear and quiet.

Three tape speeds with authentic EQ curves and noise character.

Bias trim for deliberate high-frequency density control.

Optional tape hiss calibrated to formula and speed.

4x oversampling for accurate transient behavior and saturation.

15.schOPE
License-neutral Compare and contrast by waveform, frequency or phase. Inspect with freeze, zoom and scrub.
schOPE is a flexible signal analysis tool with three modes for examining how multiple audio sources relate to each other in real time.

Use it to compare pre/post compression, align kick and bass interactions, inspect DI versus amped guitar phase, and isolate exactly where spectral or transient behavior changes.

Time Mode displays up to four simultaneous waveforms with peak-hold freeze, interactive zoom/scale/pan, and RMS readout of the visible window.

Freq Mode overlays multichannel spectral power so you can compare signal content directly, with adjustable FFT size and zoom ranges for practical mix decisions.

Phase Mode provides dual-stereo phase analysis to diagnose stereo balance, panning behavior, and phase cancellation issues quickly.

In VST3 hosts, sidechain routing allows schOPE to run as a dual-stereo analyzer (channels 1/2 and 3/4), making cross-signal inspection even more useful in complex sessions.

Compare up to four channels simultaneously in one analysis view.

Freeze, zoom, scale, pan, and scrub to inspect transient behavior in detail.

Analyze waveform, frequency content, and stereo phase relationships.

VST3 sidechain routing enables multichannel dual-stereo workflows.

16.Sculpto
Waveform reshaping tool allowing powerful direct control over the dynamics of any audio.
Sculpto is a waveform reshaping tool that gives direct control over audio dynamics. Draw Bezier curves and define their effect, from gentle envelope-style scaling through variable soft clipping to hard clipping that radically changes dynamic content.

Everything runs in real time, non-destructively, and with low CPU use.

Timeline navigation with loop detection gives you full control across your DAW project, whether you are transforming a looped bar or isolating specific details.

Sculpto works as both a practical everyday dynamics tool and a powerful creative processor for intentional audio deconstruction.

Clipped peak restoration with smooth, repeatable reshaping.

Transient shaping with directly drawn envelope behavior.

Special effects from subtle movement to extreme pumping and mangling.

Real-time, non-destructive processing with low CPU use.

17.Spectro
Powerful and non-destructive real-time spectral editing without leaving your host application.
Spectro is a real-time spectral editor. Draw a box around specific frequencies for a specific time period, then edit only those frequencies for only that window in time.

It is built for practical cleanup and detail work without leaving your host: accidental noises, incidental vocal or instrument artifacts, and problematic harmonic buildup can all be isolated and adjusted quickly.

Audio errors: target and mute accidental noises quickly.

Incidental noise: tame lip noise, sibilance, and pick clicks transparently.

Harmonic bleed: isolate overtone bands and rebalance specific notes.

18.The Rocket
The Rocket is a character audio compressor built for very fast response, reacting in microseconds to variations in program…
The Rocket is a character audio compressor built for very fast response, reacting in microseconds to variations in program level. Being several thousand times faster than most ordinary compressors, The Rocket hits hard.

A single sample at 44.1kHz spans 22.6 microseconds. The Rocket’s attack time can go below that level so even the first sample is fully under control. On a master bus, it can tame transients almost like a brickwall limiter.

Within The Rocket’s “Impetus” circuits, warmth and aggression coexist as DSP: from delicate musical gain reduction to dirty, heavy, slamming behavior when you push it.

Ultra-fast character effects compressor.

‘All Buttons’ mode for compression ratio.

Easy, one-knob parallel compression.

Sidechain function for compatible hosts.

Low CPU usage, even with the optional oversampling engaged.

19.Tinman
Intelligent resonant filters driven by real-time polyphonic pitch detection. Try it on ..anything. Everything. Do it now…
Tinman is an auto-peaking resonant filter driven by real-time polyphonic pitch detection and per-pitch attack/decay envelopes.

In practice, Tinman listens to incoming audio, identifies the strongest pitches, and spawns matched resonators that follow those pitches in motion, even when they are not tuned to standard notes.

At conservative settings, Tinman adds motion and harmonic interest to dull parts. At aggressive settings, it produces unusual, vocal, and “spooky” resonant textures that can transform source material.

Its pitch detection system ranks dominant components in the input, applies threshold and range filtering, and keeps each resonator dynamically matched while the source evolves, then releases it naturally when the source falls away.

Real-time polyphonic pitch-tracking resonators.

Trigger 1 to 4 resonators from detected input pitches.

Individually triggered attack/decay behavior per resonator.

Tracks sliding notes and releases naturally when pitch content ends.

20.Transient Monster
Total gain-independent control of the transient and sustain elements of drums, bass, guitars and all things spiky.
This is simplicity itself. It will save your drum mixes.

Two controls: Attack and Sustain.

Put it on your drum bus and turn the knobs. If a performance has groove but lacks snap, raise attack. If cymbals die too quickly, raise sustain. If you have too much ring and bleed, pull sustain down.

Two core controls: Attack and Sustain.

Fast, gain-independent transient shaping.

Add snap, ring, or sustain where needed.

Reduce bleed and unwanted decay by pulling sustain down.

21.Verbiage
Extremely controllable and flexible algorithmic stereo reverb with integrated gate.
Before convolution reverbs, the great reverbs were largely algorithmic.

Verbiage follows that tradition: an algorithmic reverb built from fundamentals, with deep control and practical flexibility.

This is not designed to emulate a literal physical room in the way convolution tools do best. It is designed to sweeten tracks and add character, shimmer, and depth in a highly controllable way.

Separate control of early and late reflections.

Stereo/mono input mix and stereo width output control.

Wet-channel flip for cross-reverb spatial effects.

Built-in high-pass filtering and gating controls.

22.Vibe EQ
One of those EQs that improves tone immediately, even with subtle settings. Vibe-EQ…
Vibe EQ is one of those EQs that improves tone immediately, even with subtle settings.

Consider 1973, our top quality pristine equalizer: we go to great efforts to provide smooth and transparent control over the frequencies you choose, because very often that is what you need from an EQ. But sometimes you need an EQ that shapes the character of the sound at those frequencies.

That is Vibe EQ.

Vibe EQ is all about color. The more boost or cut you dial in, the more color and funk you get through rich harmonic variation at the selected frequencies. Use it lightly on the output bus, submixes, and vocals for warm musical balance, or drive it harder on guitars, bass, and drums when you want to grab the core of the tone.

Rich, colored equalization.

High shelf and two overlapping mid-bands.

Simultaneously bracket your low end with hi-pass and smooth low shelf.

Output volume control.

Low CPU usage, even with optional oversampling.

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