The Softube Mix Bundle give users full control over the key elements of a mix—compression, equalization, and reverb

The Softube Mix Bundle is a collection of our finest plug-ins—five essential tools that give you full control over the key elements of building a mix—compression, equalization, and reverb.

These plug-ins are the same great Softube plug-ins professional recording musicians rely on daily, so you can mix with confidence, knowing that the FET Compressor you put on your vocal track is the same one used on hit records around the globe. These plug-ins not only sound extremely good (as many reviewers have so kindly pointed out), they're designed to be easy to use, so you can achieve great results in virtually no time. Now you can spend less time mixing and more time writing your next big hit.

Includes:

TSAR-1R Reverb The TSAR-1R is based on a powerful, proprietary modern reverb algorithm. It's alive and vibrant, gentle and dreamy—and above all, natural and believable. We've wrapped this versatile beauty in an exceptionally accessible interface—three knobs give you fast, immediate control over a wide range of ambient spaces.

The TSAR-1 Reverb is not an emulation. It's not a stock design. It's not a static snapshot of a space. The TSAR-1 is a powerful, modern reverb algorithm. It's alive and vibrant, it's gentle and dreamy, and above all - it's natural and believable. The TSAR-1 is the better-sounding alternative to the established, traditional reverb products. At a fraction of the price.

The True Stereo Algorithm inside the TSAR-1 is what gives it its magic. The strength lies in its sophisticated sound and versatility, no matter whether it's used on strings and brass or rock drums and lead vocals, it always shines. All this while still having a comprehensive and easy-to-use interface that is unparallelled in other high-end reverb products.

Passive Equalizer Based on a famous German three-band passive console equalizer from the 60s, the Passive Equalizer features wide bandwidth and unsurpassed clear and open sound.

Modeled from a famous German three-band passive equalizer, it features a wide band width with an unprecedented clear and open sound. The Low boost gives you a warm low end, perfect to fatten up a bass drum or bass guitar track. Cutting the highs give you a very gentle 6dB cut which allows you to remove some of the unwanted highs without too much intrusion in the sound. The High boost is open and crisp, excellent to live up an otherwise dead track.

Active Equalizer A modern active design based on Swiss hardware from the 70s. Three bands of EQ, each with selectable gain, frequency, and bandwidth, plus 18dB/Oct high and low cut filters, give this versatile equalizer a tight and focused sound.

This is a more modern active design made somewhere in the Swiss alps in the seventies. This one has three full bands (Low, Mid and High) with selectable gain (2dB steps) and frequency. The width (Q) can be selected via a switch and each band can be bypassed. It also features High and Low cuts.

Whereas the Passive Equalizer is wide, clear and unintrusive, the Active Equalizer is more of a surgeon with a tight and focused sound. Some people prefer the high band, while others use it to control the mids of a track. The bands can overlap, and unlike normal equalizer plug-ins the notches and peaks overlaps without adding any extra gain to the peak or notch, just like the real analog gear.

Focusing Equalizer A novel and untraditional take on equalizers, with the low, mid, and high bands moving automatically and musically in relation to the high and low cut filters. Features the filters from the Passive and Active Equalizers, as well as an outstanding one-knob saturation control.

Unlike the previous two, this one is our own bastard creation. The main idea is to have an equalizer where you first set the band width with the Low and High Cut faders, which will automatically re-set the frequencies of the High, Mid and Low bands to match your recording. After that, you use the High, Mid and Low to create the sound of the track, focusing on the sound you're interested in. No need for separate frequency selectors for the different bands since these have already been set in a very natural sounding way by the High and Low Cut.

The sound of the Low and High cuts, as well as the Low, Mid and High filters come from the Passive and Active Equalizer models. In addition to this we have added a Saturation circuit, very much based on the distortion and compression from our famous FET Compressor.

FET Compressor A fresh spin on one of the most famous compressors of all time, updated with parallel compression, detector filters, look-ahead function, and external sidechain.

Many "modeled" compressors are nothing more than futile attempts to get an off-the-shelf algorithm to match its hardware counterpart by tweaking a few parameters like the knee and attack/release times. But anyone who has worked with hardware compressors knows that there must be more to it. And there is.

The heritage of analog compressors very much showcases the history of electronics in the previous century. It's the deficiencies of the different designs and components that give each unit its unique character, and what started out as technical limitations have now become sought-after sounds. Simply approximating the most apparent features is not enough to capture this uniqueness. It takes a model of great complexity and accuracy to make a digital replica sound like the original with all settings and inputs.

For more information, sound examples, etc., please see the individual product pages.

System Requirements

Native version

• A Native 64-bit version is under development and will be released as soon as possible!
• Mac OS X (10.4 for PPC, 10.5 or higher for Intel), Windows XP or higher
• Mac: Intel or PowerPC processor (G4 or higher), Windows: PIII or higher
• Windows: PIII or higher
• 512 MB RAM
• Any VST, AudioUnits or RTAS compatible host application
• iLok USB key and the latest Pace Interlok drivers

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