![图片[1]_Goodhertz All Plugins Bundle](https://img.vst619.com/2023/09/02/872f708e71255.jpg)
混音插件包Goodhertz All Plugins Bundle
VST插件格式：
VST/VST3/AAX
Goodhertz 是一家音频软件公司，成立于 2014 年初。我们的总部位于南加州，在佛蒙特州和首尔设有办事处。我们认为音频插件应该音质出色，并且易于使用。我们专注于制作最好的音频插件
包括：
1. Ghz Can Opener Studio 3
2. Ghz DC19 3
3. Ghz Faraday Limiter 3
4. Ghz Good Dither 3
5. Ghz Lohi 3
6. Ghz Lossy 3
7. Ghz Loudness 3
8. Ghz Megaverb 3
9. Ghz Midside 3
10.Ghz Midside Matrix 3
11.Ghz Panpot 3
12.Ghz Tiltshift 3
13.Ghz Tone Control 3
14.Ghz Trem Control 3
15.Ghz Tupe 3
16.Ghz Vulf Compressor 3
17.Ghz Wow Control 3
18.Ghz VCME 3
19.Ghz VCME Soft Clip 3
1. Ghz CanOpener Studio 3
CanOpener 是目前最透明的耳机监听处理器。
无需大惊小怪、噱头、“房间模拟”或 3D 空间化，即可在耳机上获得更好的混音效果 — 只需更好、更准确地翻译到扬声器即可。
通过让您的耳机表现得更像扬声器，CanOpener Studio 交叉馈送算法可让您重现聆听经过精细调整的房间中的高端扬声器的丰富声音体验。结合华丽的均衡器和严谨的监控控制，CanOpener Studio 非常适合跟踪 — 允许表演者获得完美的耳机混音，它在主输出上也同样有用 — 有助于纠正或增强任何监控环境。
2. Ghz DC19 3
运动中的延迟 — 这是一件美妙的事情。DC19 是一种可播放的延迟，是一种实验性插件，在构建时考虑了硬件控制器和模拟氛围。标准延迟为您提供一个按钮，而 DC19 为您提供一个滑块。
从弹性的海浪回声和用磁带录制的回声到怪异的磁带循环和科幻声音设计，DC19 可能最初只是一个奇怪的延迟概念，但如今已成为值得重复的一切的一站式商店。
3. Ghz Faraday 限制器 3
Faraday 限制器是铁的声音：丰富多彩的动态，温暖的磁带般的饱和度。
大多数现代数字限制器的设计都是声音中性的，具有最大的透明度和最小的色彩。换句话说，它们是为了完成一项工作（限制信号的电平）而设计的，而不会过多地改变整体声音或赋予任何特定的声音特征。然而，不可避免的是，数字峰值限制器确实有自己的声音——尤其是在用力推的时候——而且，当暴露在外时，这种声音可能真的很糟糕：刺耳、脆弱的高端；压扁的瞬态；薄弱或扭曲的低端。我们不想再制作另一个“透明”的砖墙限制器，而是想制作一些不同的东西：动态、丰富多彩且鼓舞人心的东西；你可以使用它来获得不仅仅是纯粹的响度的东西。
Faraday Limiter 以电变压器的发明者命名，其模拟输入/输出变压器是其强劲、谐波丰富的声音的来源。限制器电路平滑而生动 – 它可以比我们听过的任何限制器更快地泵送得更远，同时保留其特有的冲击力和温暖感。Faraday Limiter 在总线、单个乐器、人声、对话等方面的声音效果非常好，并且可以实现任何其他动态处理器都无法实现的音色塑造和音调着色。
4. Ghz Good Dither 3
Good Dither 是一种非常好的抖动器，非常容易使用。将其设置为“最佳”，它将针对任何位深度和采样率组合优化抖动和噪声塑造。
5. Ghz Lohi 3
Lohi 是一款专为扫描和实时控制而设计的滤波器插件。
无论您是音乐制作人、DJ、声音设计师还是混音工程师，您都可能需要一个简单的滤波器，当您对其进行自动化或实时更改时，它不会受到影响。
虽然存在许多滤波插件，但我们一直在努力寻找一个易于使用且能满足我们需求的插件：可扫描频率、可变斜率和独立控制的共振。因此，我们将这些东西内置到 Lohi 中，并为某些角色添加了杀手级模拟建模限制器/饱和器，并为滤波器部分添加了混音旋钮。自动化您喜欢的任何参数：滤波器类型、饱和度、混音 — 它们都旨在轻松控制，不会产生伪影、咔嗒声或爆音。
6. Ghz Lossy 3
劣质 mp3、破损手机、流媒体视频等无限理想的声音。
2014 年 6 月，制作人兼 Goodhertz 的朋友 Tyler Duncan 希望某种鼓点听起来像 2001 年的风格 — 也就是像从 KaZaA 翻录的低比特率数字 mp3 一样。
我们立刻就理解了他的想法。自从第二种录音格式诞生以来，人类一直渴望上一种录音格式的美学缺陷。
“比特压缩器可以吗？”不，Tyler 并没有考虑 8 位。他想要有损数字音频：通过 56k 调制解调器播放流媒体音乐、从 CD-R 翻录的 mp3、通过手机播放的轻爵士音乐、2007 年上传的 YouTube 视频。如果插件可以降低数字音频的质量并实时模拟这些典型的压缩声音会怎样？
因此，我们构建了 Lossy：高度可调整的实时插件中高度压缩的音频的产物。
Goodhertz 问道：你准备好怀念那些经过大量压缩的数字音频的美妙和声了吗？你准备好进入水下大教堂了吗？
-> 2015 年关于 Lossy 背后故事的原始博客文章：“Lossy 的未知水域”
7. Ghz 响度 3
我曾经问过 Bob Clearmountain 他是如何得到某种鼓声的。他耸耸肩。“我只是移动推子，直到听起来正确为止。”
答案并不令人满意。肯定有一些秘密武器，一些特殊的压缩器、门限、一些无法获得的设备将我的鼓声与他的鼓声区分开来。“那小军鼓麦克风呢？”我问道，心想它一定是老式的和/或德国的。“可能是 SM57，”他回答道。呃……什么也没有！我想。
多年后，我完全理解了他的回答，以及混音的基本事实：最重要的混音工具是低音量推子。音量、增益、响度——无论你怎么称呼它，它都是任何混音的基础。尽管每个 DAW 都有“推子”，但有时您需要更好的东西——更强大、更灵活、更有帮助的东西……
8. Ghz Megaverb 3
认识 Megaverb——一款非常好的“坏”数字混响插件。一方面，它重新演绎了 20 世纪 80 年代的标志性声音。另一方面，它是一件现代精密工程，可以进一步推动这种声音，将您的音乐带入早期数字混响无法想象或实现的声音世界。
因此，无论您是在追求经典的门控小军鼓、溶解吉他还是威胁性的合成器，Megaverb 的预设都能满足您的需求。
我们还让它易于使用。与许多 20 世纪 80 年代混响单元的神秘控制不同，Megaverb 具有简单、富有表现力的界面，让您可以轻松快速地调出您想要的声音。并且（与 Goodhertz 插件一样），Megaverb 的控件可以处理您向其抛出的任何东西。使用 WetGain 滑块自动执行混响，通过增加 VerbDecay 创建无限混响循环，或实时扫描滤波器。您能想到的任何东西，Megaverb 都可以无缝处理 – 没有咔嗒声，没有爆音，只有经过修改的音乐声音。
在搜索完美的门控混响声音时需要更精确的控制？调整检测模式或在高级 Gate + 部分中将经典的 80 年代门控混响反转为前所未闻的回避混响。
9. Ghz Midside 3
虽然市场上有很多中/侧插件，但它们都未能在简单性和功能性之间取得完美平衡。所以我们建立了自己的：Midside。
经过多年对空间音频和心理声学的研究，以及在母带制作室的数百小时工作，Goodhertz 设计了 Midside，以实现这种难以捉摸的平衡：一个功能强大到可用于任何立体声源的插件；一个可以快速切入要点但不吝惜细节的插件；一个仅使用少量控件即可实现其他 M/S 插件需要超过 50 个控件才能实现的功能的插件。
硬件的优雅启发了 Midside 的界面，软件的精确性启发了它的算法，立体声操控的强大功能使其栩栩如生。
10.Ghz Midside Matrix 3
Midside Matrix 将我们广受好评的中/侧处理器 Midside 精简为基本功能：中/侧矩阵、增益、监控和计量——全部包含在一个简单、轻量级的软件包中。而且，由于我们非常喜欢 Goodhertz 的 M/S 处理，我们决定让 Midside Matrix 免费供所有人使用！告诉您的朋友（Twitter / Facebook）。
11.Ghz Panpot 3
Panpot 将四种不同的声像模式整合到一个插件中，这将彻底改变您对立体声的看法。
传统的音频电平声像器（自 1970 年代以来几乎每个音频控制台上都有的声像器）只能让工程师控制这些提示之一：电平差异。电平声像在某些情况下效果很好，但它往往不够好，迫使我们依赖其他工具（如延迟、混响、立体声扩展、均衡器等）来实现立体声场的更多深度和清晰度。
您可以将电平声像视为黑白声像；虽然您可以传达一些明暗感，但您无法获得与使用彩色时相同的深度、细微差别和范围。Panpot 为您提供立体声音频提示的全彩色光谱。您可以随意选择使用它：为了获得逼真、超逼真或完全不逼真的空间效果 – Panpot 为您提供了四种不同的平移“颜色”，但我们不会告诉您要绘制什么。
12.Ghz Tiltshift 3
iltshift 是一种新型的 EQ 插件，可以事半功倍。
与其他均衡器相比，Tiltshift 能够显著改变音频的音调和音色 — 通过一个响度匹配的滑块，从柔和的温暖变为晶莹剔透 — 同时坚持母带制作的第一条规则：不造成伤害。
虽然倾斜 EQ 自 20 世纪 80 年代就已经出现 1，但 Tiltshift 的算法是一种全新的、不同的倾斜和移动频谱的方法。2 通过使用非常平缓的斜率（通常每八度小于 1 dB），Tiltshift 能够比传统 EQ 更好地保持音频的相对相位、频率和瞬态响应 — 让您在关注细节之前找到正确的全局频率曲线。
Tiltshift 的感知响度锁定技术可使响度在任何设置下保持匹配。这使得 Tiltshift 成为自动执行混音或母带中的频谱偏移的理想选择，无需补偿不自然的增益变化。
13.Ghz Tone Control 3
1950 年，一位名叫 Peter J. Baxandall 的谦逊音频工程师凭借创新的高音和低音电路设计赢得了一块价值 25 美元的手表。64 年后，Goodhertz 为您带来了 Tone Control。
Tone Control 的设计考虑到了他最初的电路，改进并扩展了经典的音调堆栈，创造了一个华丽、顺滑的均衡器，具有足够的多功能性，适合您混音中的每个音轨。
14.Ghz Trem Control 3
Trem Control 适用于从重现经典到动画现代到聆听未曾听过的声音等各种用途，它是一款受古典启发的颤音器，功能强大，足以适应 21 世纪。
我们喜欢颤音，因为它增添了人性化的感觉：歌手声音的不稳定，或科尔曼·霍金斯在《Body and Soul》中的男高音。近一个世纪以来，创新者将这种颤音带入了新乐器，发明了莱昂内尔颤音琴1令人难忘的闪光，以及罗兹琴深情的颤音。
但我们也喜欢颤音，当它不仅仅是正弦波时——也就是说，当它完全改变声音并赋予节奏或音色时，这是无法想象的。
然而，大多数数字颤音都无法捕捉到上述所有特点。它们通常很难控制，不能顺利自动化，而且缺乏优秀电子管放大器颤音的特点和丰富性。
因此，考虑到所有这些，我们构建了一些直观且无限的东西，一种将硬件的即时性与数字细节相结合的颤音。
15.Ghz Tupe 3
真空管放大和磁带录音是永恒的搭配，它们都包含在一个必不可少的插件中：Tupe (/’tüp/)。
从柔和的谐波增强到完全模糊的失真和饱和度，Tupe 旨在重现和整合我们一直以来最喜欢的一些磁带机和电子管电路。结合 Tupe 的超强表现力滤波器、创新的强调部分及其 Opto 式限制器/压缩器，只需单击几下，即可发现无限的模拟色彩和氛围。
16.Ghz Vulf Compressor 3
压缩确实是音乐混音的盐。它是混音工程师的终极工具，而 Vulf Compressor 是一款真正的精品、顶级喜马拉雅粉红海盐。它可以真正改变歌曲的方向。从最好的意义上说，它就像一匹只有一招的小马，它能给我们的歌曲带来非常独特的声音，有些人会把它放在整个音轨上。通过这个插件，人们可以了解到 Vulfpeck，这真的是一个很酷的补充。
大约在世纪之交，一位不知名的日本 DSP 工程师为 Boss SP-303 Dr. Sample Sampler 设计了一种极其奇怪的压缩算法。
多年过去了，这种“Vinyl Sim”压缩一直默默无闻，这是一门只有乐器节拍制作从业者、制作人如 J Dilla 和 Madlib 才知道的黑暗艺术。
但后来 Vulfpeck 的 Jack Stratton 在论坛上读到了关于压缩算法的信息，并邀请了两位朋友 Devin Kerr 和 Rob Stenson（Goodhertz 的联合创始人）以数字形式将该算法变为现实。
但 Devin 所做的不仅仅是让它变得生动——他扩展了算法，微调了声音，完善了它的奇特之处。
现在压缩就是 Vulf 压缩器。
17.Ghz Wow Control 3
认识 Wow Control：一款全新的音频插件，完全专注于模拟磁带和其他不太完美的模拟播放设备的怪异和狂野的调制。在开发 Wow Control 时，我们着手准确捕捉跨越三十年的三台磁带机的本质：每一个噪音、每一个摆动和每一个谐波。最终的插件是我们听过的最全面的模拟磁带模型。
Wow Control 扩展并改进了经典 Vulf Compressor 的哇音和颤动部分 – 带来更具表现力的形状控制、节拍同步和广泛的随机化部分 – 可在扩展的高级控制中使用 – 用于创建复杂且不可预测的调制效果。
在极端设置下，它会弯曲和扭曲它接触到的任何东西。然而，如果使用得当，它可以为单个混音元素注入一点生命或动感，或为整个母带带来色彩和丰富性。例如：几乎每个 Vulfpeck 的《美丽的游戏》母带都使用了 Wow Control。
如果你愿意的话，你可以保留你信赖的 424，但如果你拥有一份《Wow Control》你就不再需要这样做了。
18GHz VCME 3
在过去十年里，Goodhertz 开发了无数产品，Vulf Compressor 无疑是我们最出色、最独特的算法之一。
它拥有那种独特的音色。
正如 Vulfpeck 的 Jack Stratton 在我们第一次就原型机进行邮件交流时所说：“太棒了！这才是真正的秘方。它处理军鼓的方式简直绝了！”
自 2014 年发布以来，Vulf Compressor 的应用可谓无处不在：从 lo-fi 节拍磁带到好莱坞电影配乐，甚至在 Dua Lipa 的人声处理中也能看到它的身影。你肯定在某些音乐作品中听到过它。然而，尽管 Vulf Compressor 拥有强大的原始力量，但其标志性的三主控设计——Stratton 最初构想的核心——在需要轻柔操控的场合中却可能存在局限性。
正如传奇混音师 Michael Brauer 曾经评价 Vulf Comp 时所说：“从外表上看，它可能像一辆沃尔沃，但引擎盖下却是一辆怪兽卡车。”
没错。但你不可能开着巨型卡车赢得勒芒24小时耐力赛。
因此，值此十周年之际，我们激动地宣布推出：Vulf Compressor Mastering Edition (VCME)，一款全新的Vulf Compressor——专为母带处理和总线处理而打造的Vulf Compressor。
19GHz VCME Soft Clip 3
在Vulf Compressor Mastering Edition的开发过程中，我们经常发现自己需要单独使用VCME的Soft Clipper，或者将其置于与压缩器不同的位置。
Soft Clip在VCME中表现如此出色，却只能屈居第二——它值得拥有自己的插件：VCME Soft Clip。最棒的是？所有VCME用户均可免费使用VCME Soft Clip！
VCME Soft Clip与VCME中的Soft Clip部分功能相同，但它增加了一个强大的饱和度增强部分，可增强声音的雕琢和泛音塑造。由于它是独立运行的，因此与完整版的 VCME 相比，它的延迟更低，CPU 占用率也更低。
除了 Emphasis 滤波器之外，VCME Soft Clip 还支持外部侧链，允许您根据另一个信号的动态来饱和输入信号——这是一种非常有趣且独特的效果。
VCME Soft Clip 的创建源于对多个世界级模拟母带处理流程的深入研究和解构。每个流程都采用了不同的模拟硬件、不同的模数转换器以及不同的削波和饱和特性。
Soft Clip 饱和模块捕捉了流程中的模拟部分：电子管、变压器、晶体管等等，它们都会为信号增添微妙的饱和度、谐波，并在足够大的情况下产生完全的模拟削波和失真。
软削波限制器模块捕捉数字部分：它从软削波模数转换器中汲取灵感，并在此基础上进行了创新，采用全新的方法，将瞬态和稳态信号分离，从而获得更具冲击力的效果，同时减少失真。
VCME 软削波是为混音增添活力或为乐器或人声增添特色的终极秘诀。它兼具限制器和饱和器的功能：非常适合在提升响度和临场感的同时，保留音轨的自然特性和动态。
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Goodhertz is an audio software company, founded in early 2014. We are based in Southern California, and have offices in Vermont and Seoul. We believe audio plugins should sound amazing, and should be easy to use. We specialize in making the best audio plugins
Include:
1. Ghz CanOpener Studio 3
2. Ghz DC19 3
3. Ghz Faraday Limiter 3
4. Ghz Good Dither 3
5. Ghz Lohi 3
6. Ghz Lossy 3
7. Ghz Loudness 3
8. Ghz Megaverb 3
9. Ghz Midside 3
10.Ghz Midside Matrix 3
11.Ghz Panpot 3
12.Ghz Tiltshift 3
13.Ghz Tone Control 3
14.Ghz Trem Control 3
15.Ghz Tupe 3
16.Ghz Vulf Compressor 3
17.Ghz Wow Control 3
18.Ghz VCME 3
19.Ghz VCME Soft Clip 3
1. Ghz CanOpener Studio 3
CanOpener is the most transparent headphone listening processor available.
Get better mixes on headphones with no fuss, gimmicks, “room simulations”, or 3D spatialization — simply better, more accurate translation to speakers.
By making your headphones behave a bit more like loudspeakers, the CanOpener Studio crossfeed algorithm allows you to recreate the rich sonic experience of listening to high-end speakers in a finely tuned room. Combined with a gorgeous equalizer and serious monitoring controls, CanOpener Studio is great for tracking — allowing performers to get the perfect headphone mix, and it’s also equally useful on the master output — to help correct or enhance any monitoring environment.
2. Ghz DC19 3
A delay in motion — that’s a beautiful thing. DC19 is a playable delay, an experimental plugin built with hardware controllers and analog vibe in mind. Where a standard delay gives you a button, DC19 gives you a slider.
From springy surf echoes and tape’d out slapbacks to weirdo magnetic tape loops and sci-fi sound design, DC19 may have started out life as a weird little delay concept, but these days is a one-stop shop for everything worth repeating.
3. Ghz Faraday Limiter 3
Faraday Limiter is the sound of iron: colorful dynamics with warm, tape-like saturations.
Most modern digital limiters are designed to be sonically neutral, with maximum transparency and minimal coloration. In other words, they’re created to do one job (limit a signal’s level) without changing the overall sound too much or imparting any specific sonic signature. Inevitably, though, digital peak limiters do have a sound of their own — especially when pushed hard — and, when exposed, that sound can be truly awful: harsh, brittle high end; squashed transients; & thin or mangled low end. Rather than build another “transparent” brickwall limiter, we thought we’d make something different: something dynamic, colorful, and inspiring; something you could use for more than just pure loudness.
Named after the inventor of the electrical transformer, Faraday Limiter’s analog-modeled input/output transformers are responsible for its beefy, harmonically-rich sound. The limiter circuit is smooth yet lively — it can pump faster and further than any limiter we’ve ever heard while retaining its characteristic punch and warmth. Faraday Limiter sounds great on buses, individual instruments, vocals, dialog, etc. and allows for a level of timbral shaping and tonal coloration that can’t be achieved with any other dynamics processor.
4. Ghz Good Dither 3
Good Dither is a very good dither that’s very easy to work with. Set it on “Optimal,” and it will optimize the dither and noise shaping for any combination of bit depth and sample rate.
5. Ghz Lohi 3
Lohi is a filter plugin specifically designed for sweeps & realtime control.
Whether you’re a music producer, DJ, sound designer, or mix engineer, you probably have a need for a simple filter that doesn’t get upset when you automate it or change it in realtime.
Although many filtering plugins exist, we’ve always struggled to find one that was easy to use and did what we wanted: sweepable frequency, variable slope, & independently controlled resonance. So we built those things into Lohi, and we included a killer analog-modeled limiter/saturator for some character and a mix knob for the filter section. Automate any parameter you like: filter type, saturation, mix — they’re all meant to be happily controlled without artifacts, clicks, or pops.
6. Ghz Lossy 3
The infinitely desirable sound of crappy mp3’s, broken cellphones, streaming videos, and much more.
In June of 2014, producer & friend-of-Goodhertz, Tyler Duncan, wanted a certain drum fill to sound like the year 2001 — that is, like a low bitrate digital mp3 ripped from KaZaA.
We understood him immediately. Since the dawn of the second recording format, mankind has longed for the aesthetic imperfections of the previous recording format.
“Would a bitcrusher do?” No, Tyler didn’t have 8-bit in mind. He wanted lossy digital audio: streaming music on a 56k modem, an mp3 ripped from a CD-R, light jazz music streamed over a cellphone, a YouTube video uploaded in 2007. What if a plugin could degrade digital audio and simulate those quintessential compressed sounds in realtime?
So we built Lossy: artifacts of heavily compressed audio in a highly tweakable realtime plugin.
Goodhertz asks: are you ready to nostalgize the beautiful harmonics of heavily compressed digital audio? Are you ready to enter the underwater cathedral?
-> Original blog post from 2015 about the story behind Lossy: “Lossy’s Uncharted Waters”
7. Ghz Loudness 3
I once asked Bob Clearmountain how he got a certain drum sound. He shrugged. “I just moved the faders until it sounded right.”
An unsatisfying answer. Surely there had to be some secret sauce, some special compressor, gate, some unobtainable piece of gear that separated my drum sounds from his. “What about the snare mic?” I asked, thinking it had to have been something vintage and/or German. “SM57, probably,” he replied. Ugh… nothing! I thought.
Years later, I fully understood his answer and what is a fundamental truth about mixing: the most important mixing tool is the lowly volume fader. Volume, gain, loudness — whatever you call it, it’s the bedrock of any mix. And even though every DAW has “faders,” sometimes you need something better — something more powerful, more flexible, more helpful…
8. Ghz Megaverb 3
Meet Megaverb — an incredibly good, “bad” digital reverb plugin. On the one hand, it is a recreation that captures that iconic sound of the 1980’s. On the other, it is a modern piece of precision engineering that pushes that sound further, opening up your music to a world of sounds that those early digital reverbs could not imagine or implement.
So whether you’re after that classic gated snare, or that dissolving guitar, or that menacing synth, Megaverb’s presets have you covered.
We’ve also made it easy to use. Unlike the arcane controls of many 1980’s reverb units, Megaverb has a simple, expressive interface that gets out of your way so you can quickly dial in the sound you’re looking for. And (as always with Goodhertz plugins), Megaverb’s controls can handle anything you throw at them. Automate a reverb throw with the WetGain slider, create an infinite reverb loop by ramping the VerbDecay, or sweep the filters in realtime. Anything you can think of, Megaverb can handle seamlessly — no clicks, no pops, just the sound of your music, modified.
Need more precise control when searching for your perfect gated reverb sound? Tweak the detection mode or invert the classic 80’s gated reverb into a never-before-heard ducked reverb in the advanced Gate + section.
9. Ghz Midside 3
Though there are a lot of mid/side plugins on the market, all of them have failed to strike a perfect balance between simplicity and power. So we built our own: Midside.
After years of research on spatial audio and psychoacoustics — as well hundreds of hours in the mastering room — Goodhertz has designed Midside to strike that elusive balance: a plugin powerful enough to be used on any stereo source; a plugin that gets to the point quickly, but doesn’t skimp on the details; a plugin that accomplishes with just a handful of controls what other M/S plugins fail to accomplish with more than 50.
The elegance of hardware inspired Midside’s interface, the precision of software inspired its algorithms, and the power of stereo manipulation brought it to life.
10.Ghz Midside Matrix 3
Midside Matrix pares down our acclaimed mid/side processor, Midside, to just the essentials: mid/side matrixing, gains, monitoring, & metering — all in a simple, lightweight package. And, because we love M/S processing so much at Goodhertz, we decided to make Midside Matrix free for everyone! Tell your friends (Twitter / Facebook).
11.Ghz Panpot 3
Panpot brings together four different modes of panning in a single plugin that will transform the way you think about stereo.
The traditional audio level panner — the one found on almost every audio console since the 1970’s — gives an engineer control of only one of these cues: level differences. Level panning works well enough for some things, but it often falls short, forcing us to rely on other tools (like delays, reverbs, stereo widening, EQ, …) to achieve more depth and definition in the stereo field.
You can think of level panning as panning in black & white; while you can convey some sense of light and dark, you don’t have access to the same depth, nuance, and range that you would if you were working in color. Panpot gives you the full color spectrum for stereo audio cues. You can choose to use it however you like: for realistic, hyper-realistic, or totally unrealistic spatial effects — Panpot gives you four different panning “colors,” but we don’t tell you what to paint.
12.Ghz Tiltshift 3
iltshift is a new type of EQ plugin that does more with less.
More than any other equalizer, Tiltshift is able to dramatically alter the tone and timbre of your audio — going from mellow warmth to crystal clear with a single, loudness-matched slider — while sticking to the first rule of mastering: do no harm.
Although tilt EQ’s have been around since the 1980’s1, Tiltshift’s algorithm is a completely new & different approach to tilting and shifting the frequency spectrum.2 By using extremely gentle slopes (usually less than 1 dB per octave), Tiltshift is able to preserve the relative phase, frequency, and transient response of the audio much better than a traditional EQ can — allowing you to find to the right global frequency curve before focusing on specifics.
Tiltshift’s perceptual loudness lock technology keeps the loudness matched for any setting. This makes Tiltshift ideal for automating spectral shifts in a mix or master without having to compensate for unnatural gain changes.
13.Ghz Tone Control 3
In 1950, an unassuming audio engineer named Peter J. Baxandall won a $25 dollar watch for an innovative treble & bass circuit design. 64 years later, Goodhertz brings you Tone Control.
Designed with his original circuit in mind, Tone Control refines and expands the classic tone stack, creating a gorgeous, buttery-smooth equalizer with enough versatility for every track in your mix.
14.Ghz Trem Control 3
Made for everything from recreating the classics, to animating the modern, to hearing the unheard, Trem Control is a classically-inspired tremolo powerful enough for the 21st century.
We love tremolo because it adds a human touch: the unsteadiness of a singer’s voice, or of Coleman Hawkins’ tenor on “Body and Soul.” And for nearly a century, innovators have brought that wavering to new instruments, inventing the unforgettable shimmer of Lionel’s vibraphone1, and the soulful wobble of a Rhodes.
But we also love tremolo when it’s more than a sine wave — that is, when it completely transforms a sound and imparts a rhythm or timbre otherwise unimaginable.
And yet most digital tremolos fail to capture all of the above. They’re usually hard to control, don’t automate smoothly, and they lack the character and richness of a great tube amp tremolo.
So, with all that in mind, we built something intuitive and limitless, a tremolo that combined the immediacy of hardware with the detail of digital.
15.Ghz Tupe 3
A timeless pairing — vacuum tube amplification & magnetic tape recording — brought to you in one essential plugin: Tupe (/’tüp/).
From gentle harmonic enhancement to completely fuzzed-out distortion and saturation, Tupe was designed to reproduce and bring together some of our all-time favorite tape machines and tube circuits. Combined with Tupe’s super expressive filter, an innovative emphasis section, and its Opto-style limiter/compressor, there’s an infinite range of analog color and vibe waiting to be discovered in just a few clicks.
16.Ghz Vulf Compressor 3
Compression really is the salt of music mixing. It’s the ultimate tool of a mix engineer and the Vulf Compressor is a really boutique, top-shelf Himalayan pink sea salt. This can really change the direction of a song. It’s kind of a one-trick pony in the best sense, in that it gives our songs a really distinct sound and some people will just put it on the entire track. It’s been a really cool addition to people finding out about Vulfpeck through this plugin.
Sometime around the turn of the century, an unknown Japanese DSP engineer engineered a radically weird compression algorithm for the Boss SP-303 Dr. Sample Sampler.
Years passed, and this “Vinyl Sim” compression languished in obscurity, a dark art known only to practitioners of instrumental beatmaking, producers like J Dilla and Madlib.
But then Vulfpeck’s Jack Stratton read about the compression algorithm on a forum and enlisted two friends, Devin Kerr and Rob Stenson (co-founders of Goodhertz), to bring that algorithm to life in a digital form.
But Devin did more than just bring it to life — he expanded the algorithm, fine-tuned the sound, perfected its oddity.
And now that compression is the Vulf Compressor.
17.Ghz Wow Control 3
Meet Wow Control: a new audio plugin entirely focused on the weird & wild ~modulations~ of analog tape and other less-than-perfect analog playback devices. In developing Wow Control, we set out to accurately capture the essence of three tape machines spanning three decades: every noise, every wobble, & every harmonic. The plugin that has resulted is the most comprehensive analog tape model we’ve ever heard.
Wow Control expands and improves upon the wow & flutter section from the classic Vulf Compressor — bringing more expressive shape controls, beat-syncing, and an extensive randomization section — available in the expanded Advanced controls — for creating complex and unpredictable modulation effects.
At its extreme settings, it will bend and distort anything that it touches. Used gently, however, it can breathe a little life or movement into individual mix elements or bring color and richness to an entire master. Case in point: Wow Control was used on almost every master of Vulfpeck’s The Beautiful Game.
You can keep your trusty 424 around if you want, but you no longer need to if you own a copy of Wow Control.
18.Ghz VCME 3
Of all the things we’ve engineered at Goodhertz over the past decade, Vulf Compressor remains one of our most wonderful & unusual algorithms.
It has that sound.
As Vulfpeck’s Jack Stratton put it during our first email exchange on the prototype: “NICE! that special sauce. the way it snaps that snare is the $$$!”
Since its release in 2014, Vulf Compressor has been everywhere: lofi beat tapes to Hollywood film scores — even on Dua Lipa’s vocal chain. Surely, you’ve heard it on some music somewhere. But for all its raw power, Vulf Compressor’s iconic three-main-control design — central to Stratton’s original vision — can be limiting in situations that demand a lighter touch.
As legendary mixer Michael Brauer once said of Vulf Comp: “On the outside, it may look like a Volvo, but under the hood, it’s a monster truck.”
Indeed. But you won’t win the 24 Hours of Le Mans with a monster truck.
That’s why we’re thrilled to announce, on the occasion of its 10th anniversary: Vulf Compressor Mastering Edition (VCME), a new kind of Vulf Compressor — a Vulf Compressor purpose-built for mastering & bus processing.
19.Ghz VCME Soft Clip 3
During the development of Vulf Compressor Mastering Edition, we often found ourselves wanting to use VCME’s Soft Clipper by itself, or in a different position than the compressor.
The Soft Clip was just too to good play second fiddle in VCME — it deserved its own plugin: VCME Soft Clip. The best part? VCME Soft Clip is FREE for all VCME owners!
VCME Soft Clip is identical to the Soft Clip section in VCME, but it adds a powerful Saturation Emphasis section for enhanced sculpting & harmonic shaping. And because it’s running alone, it also has lower latency and lower CPU usage than the full version of VCME.
In addition to the Emphasis filter, VCME Soft Clip supports external sidechaining, allowing you to saturate an input signal based on the dynamics of another signal — a very interesting & unusual effect.
VCME Soft Clip was created by examining and deconstructing several world-class analog mastering chains. Each of these chains featured different analog hardware, different A-to-D conversion, and different clipping and saturation characteristics.
The Soft Clip Saturation module captures the analog part of the chain: tubes, transformers, transistors, etc. all color the signal with subtle saturation, harmonics, and when pushed hard enough, full-on analog clipping & distortion.
The Soft Clip Limiter module captures the digital part: inspired by soft clipping A-to-D converters, it builds on this legacy but with a fundamentally new approach, separating transient and steady-state material to achieve punchier results with less distortion artifacts.
VCME Soft Clip is the ultimate special sauce to add a little extra kick to a mix or spice up an instrument or vocal. Part limiter, part saturator: it’s perfect for increasing loudness & presence while preserving a track’s natural character & dynamics.
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