{"title":"Algorithmix","description":null,"products":[{"product_id":"algorithmix-k-stereo-ambience-processor-vst-3-0","title":"Algorithmix K-Stereo Ambience Processor (VST 3.0)","description":"\u003cp\u003e\u003cstrong\u003eAlgorithmix K-Stereo\u003c\/strong\u003e is a patented psychoacoustical process (US Pat.7076071) that extracts the ambience inherent in ordinary recordings, and is capable of spreading that uncorrelated ambience around the soundstage, and enlarging the size of that soundstage, both deeper and wider.\u003cbr\u003e In addition, K-Stereo enhances the depth and imaging of the instruments and vocals without adding any artificial reverberation.  It does not have a sound of its own; it just enhances the existing ambience and early reflections.  K-Stereo is also capable of making a natural mono to stereo conversion.\u003c\/p\u003e\n\u003cp\u003eThe plug-in is intended to be compatible with the new VST version 3.0 and is the first in the new Algorithmix CHROMIUM SERIES, a set of reference mastering plug-ins.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe World’s first Ambience Recovery Processor\u003c\/strong\u003e\u003cbr\u003e Welcome to a brand-new category of audio product: the world’s first Ambience Recovery Processor.  You are about to experience a sound enhancement plug-in that can add the last polish to an excellent audio recording, or improve a good recording.  It’s based on a psychoacoustical process developed and patented by US mastering engineer Bob Katz.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUnobtrusive and Natural Ambience Enhancement\u003c\/strong\u003e\u003cbr\u003e For the first time, the mastering engineer can easily enhance, expand, and equalize the ambience in a recording.  K-Stereo works unobtrusively and naturally.  It can help a “small” rock\u0026amp;roll recording become bigger, make a mono recording sound stereophonic.  It can improve the definition, depth, width and space of any recording.  K-Stereo is primarily a mastering tool, but it is also useful during post-production, and occasionally during mixing.  K-Stereo provides control over reverb returns or ambience mikes after the program has been mixed, and it enhances the shape, spread, tonality and depth of that reverb.  After mastering, the resulting reverberation envelops the direct sound but the mix becomes clearer and the definition improves due to the psychoacoustic nature of the process.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMerging Different Ambience Types\u003c\/strong\u003e\u003cbr\u003e K-Stereo helps to glue a recording together without need for dynamic compression.  Recordings that were made with multiple stereo microphone techniques sound more realistic and cohesive, as K-Stereo removes or reduces the artificial “edges” between the different spaces that were mixed together.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAmbience Enhancement Without Adding Any Artificial Reverb\u003c\/strong\u003e\u003cbr\u003e K-Stereo can help give a demo the polish of a better mix, or reduce the weaknesses of a poor mix.  There’s no substitute for a great mix; no substitute for use of stereo and surround microphone techniques in a natural acoustic space.  However, an experienced mastering engineer will discover that K-Stereo can put the final polish on nearly any mix.\u003c\/p\u003e\n\u003cp\u003eThis is accomplished without adding artificial reverb, without the muddy effects and artifacts that are associated with adding reverberation to an existing mix.  Plus you won’t have to spend an hour playing with reverb settings to avoid the “room within a room” effect, or attempting to match the color of the original recorded reverb.  The color and feel of the original reverberation is preserved.  K-Stereo improves the spread and diffusion of the inherent reverb and reveals the critical early reflections that define the position and location of the instruments.  It can’t turn a $600 reverb into a $6000 model, but it can give the $600 reverb some of the qualities of the more expensive model.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdding and Modifying Real Space to Vocals and Instruments\u003c\/strong\u003e\u003cbr\u003e You can instantly create a deeper, wider soundstage, move instruments and vocalists that are too far up front away from the listener.  Instruments and vocalists take on a spatial, kinetic, quality, improving the illusion of being in a real space, without coloration, pitch modulation, “phasiness” or artifacts often noted with other processes.  You can restore or enhance the front-to-back depth in stereo recordings that otherwise sound flat and one-dimensional.  Recordings become integrated and organic; “in your face” recordings can be made to sound just right.  The effect can range from subtle and intimate to extremely spacious with the touch of a knob, without losing center-panned information (as would occur with competing techniques that reduce the M to S ratio).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono-to-Stereo Conversion\u003c\/strong\u003e\u003cbr\u003e K-Stereo also performs natural mono-to-stereo conversion, by bringing out the ambience in the original mono source and spreading it to the sides in a stereophonic fashion, and with an extremely mono-compatible result.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAmbience Enhancement Keeping the Character of a Mix Unchanged\u003c\/strong\u003e\u003cbr\u003e K-Stereo does not have a sound of its own; it just enhances the existing ambience and early reflections.  Initially, the effect appears subtle. Even when you turn the effect up too loud, it doesn’t sound bad.  You’ll hear a natural, diffuse ambient field which is extracted (derived) from the ambience in the source recording.  The recording’s clarity, spatiality, depth and soundstage is enhanced without creating phasing or comb-filtering effects, without matrixing or altering mid\/side ratio (unless you choose to do so), without changing the “mix”, without fancy steering, and with no effect on the tonal balance of the direct sound.  The tonal balance of the ambience can be altered so as to produce a more pleasant sonic effect, which is a different and more subtle form of equalization.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePreserving Ambience in Coded Recordings\u003c\/strong\u003e\u003cbr\u003e Normally, conversion from long word length to 16 bit CD format as well as coding (data compression) to mp3 or other coded formats for the Internet tends to narrow the space and the depth.  Through the use of the K-Stereo process and a good dithering algorithm (today included in every serious DAW), amazingly, a 16 bit master can have much of the depth of the 24 bit original, and mp3s as well!  A 24 bit and\/or high sample rate master destined for a high resolution medium will also improve if the original mix was small or “depth-deprived”.\u003c\/p\u003e\n\u003cp\u003eAnd finally a secret: K-Stereo makes the sound louder, but rarely causes clipping. 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In these cases any kind of traditional equalization or editing methods is very time consuming and causes audible discontinuities in desired signal and ambience.  Often after hours of hard work even the best post-pro engineer will capitulate. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eHow does it work?\u003c\/strong\u003e \u003cbr\u003e EasyreNOVAtor helps when all other editing tricks and processing methods fail.  It allows localization, identification and very precise removal of unwanted audio events mostly without audibly affecting the audio material we want to keep.  The removed sound is replaced by a signal re-synthesized from the surrounding material.  Unlike time editing methods, easyreNOVAtor does not make deep gaps in the sound track when eradicating a disturbing sound event.  Rather, it’s an exactly tailored hole in the spectral representation of the processed signal that can be removed and replaced. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eEasyreNOVAtor or reNOVAtor?\u003c\/strong\u003e \u003cbr\u003e EasyreNOVAtor is optimized for very time-effective workflow and therefore equipped with well prepared preset-like controls.  It’s ideal for post-pro broadcast, TV and film engineers working under extreme time pressure.  When you deal with extremely tenacious disturbances or you just want to broaden your abilities and increase performance in cleaning audio material, upgrade to reNOVAtor that features extended manual parameter setup and some additional advanced functions.\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369653351,"sku":"12058","price":1249.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_easy_renovator.jpg?v=1787088742"},{"product_id":"algorithmix-lpeq-classic-blue","title":"Algorithmix LPEQ Classic Blue","description":"\u003cp\u003ePrecise emulation of legendary analog equalizers, extended by progressive, new models: standard \/ vintage \/ modern \/ experimental.  A sonic paradise for every recording and mixing engineer.\u003cbr\u003e \u003cbr\u003e A few years ago we did not even think about spending our time to develop perhaps the 157th parametric equalizer on the market.  Why one more?  Is it possible to be noticed among all the other already established products?\u003c\/p\u003e\n\u003cp\u003eIt was you, our customers using our LinearPhase PEQ Red and\u003cem\u003e \u003c\/em\u003eOrange who asked Algorithmix to develop a classical recording\/mixing equalizer but with its unparalleled purity and transparency.  The biggest problem we had in the beginning was the equalizer style, so we closely analyzed many of them.  To satisfy our customers as much as possible, we decided to implement not only one, but an entire collection of traditional (minimal-phase) equalizers.  Most of them emulate analog archetypes; some are based on new ideas.\u003c\/p\u003e\n\u003cp\u003eWe hope you enjoy the dozen shades of Blue and find that favorite sound you previously could get only from very expensive outboard gear.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShelf and Cut Filter Library\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn \u003cstrong\u003eClassic PEQ Blue\u003c\/strong\u003e, not only are various bell filters used but also different kinds of shelving filters.  Nine of the serial equalizers use a new shelving filter generation characterized by cut-off frequency defined in the middle of the transition part.  We found these filter definitions more intuitive than the classical ‘– 3 dB below maximum’.  The old definition is only used in the Classic Asymmetrical type to conform to its original predecessor.  All 2nd order shelving filters have a Q adjustment to emulate vintage characteristics with their specific bumps at higher slopes. Also, the parallel equalizers are equipped with respective shelving filters shapes being typical for the old parallel PEQs and interacting with other bands as did their analog predecessors.\u003c\/p\u003e\n\u003cp\u003eEvery complex PEQ is equipped with cut filters. In Classic PEQ Blue, each of the 12 equalizers can assign 1st and 2nd order cut filters.  The 2nd order filters have a Q adjustment to create so-called resonant filters characteristics and very steep brickwall filters after cascading more of them (Butterworth, Bessel, Elliptic).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe best of the analog and digital world\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Classic PEQ Blue is a creative equalizing tool combining the best of both the analog and digital worlds.  We modeled the most legendary analog equalizers including two parallel ones and added a few experimental characteristics only possible in digital domain.  To avoid bell filter asymmetry at high frequencies, typical for many digital equalizers, we have applied reference-quality upsampling techniques, automatically switchable if the sampling frequency of the input signal is 44.1 or 48 kHz.  By using proprietary filter algorithms, we have achieved a huge 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Due to the high-resolution linear-phase technology used for the implementation of the split filter, the reconstruction of the compressed and complementary band is performed completely without phase distortion contrary to some other split or multiband compressors.  The concept of the LP SplitComp allow for very precise frequency-conscious dynamic processing.  Especially if you need to “repair” specific spectral parts in dense mixes you will appreciate the surgical capabilities of this tool.  Because of a noise-free design you can use this compressor repeatedly on the same material, each time concentrating on a particular dynamic task or problem.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLooking into the future\u003c\/strong\u003e\u003cbr\u003e Because of using look-ahead delay in the signal path, the overs can be caught very precisely. Together with a respectively chosen attack time, numerous methods of transient treatment are possible.  Using the Com\/Lim feature you can make the processor more acting as a limiter or compressor.  You can even use two instances of the LP SplitComp, the first one as a compressor and the second one as a limiter.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide Chain\u003c\/strong\u003e\u003cbr\u003e The side chain of the compressor includes a range of filters to make signal detection frequency dependent.  The filters can be adjusted identical to the split filter bank to perfectly master frequency-selective tasks like de-essing or proximity effect removal.  The static characteristic allows adjusting different grades of knee rounding (soft-knee) in order to make compression smoother, less obtrusive.  A sophisticated release computer provides program-dependent reaction to any complex audio material.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA lot of helpful features\u003c\/strong\u003e\u003cbr\u003e At the end of the signal path a soft clipper takes care that the output signal does not exceed the level adjusted in the Ceiling field.  In addition it allows introducing some controlled distortions. To make the understanding and operation of the LP SplitComp as easy as possible we have implemented some additional features.  The signal Monitoring is very comprehensive but yet intuitive.  You can click on different nodes in the block diagram and thus listen to the relevant audio signals within the compressor architecture.\u003c\/p\u003e\n\u003cp\u003eAn additional feature, offered in a compressor only by Algorithmix, is the Differ function.  It allows listening to the difference between input and output signal.  So you can listen to the changes you’ve done to the signal in the PlugIn.  This difference is possible solely because the whole path in the LP SplitComp is linear-phase.\u003c\/p\u003e\n\u003cp\u003eYou can also open a compact auxiliary  Metering panel showing all level meters and indicators simultaneously and place it to any position of the screen.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYou will love it\u003c\/strong\u003e\u003cbr\u003e We believe we have created a reference-quality compressor for mastering engineers that opens new ways in efficient, transparent and surgical dynamic processing.  This compressor, however, is also intended as a creative tool for any other kind of computer audio processing in recording and mixing as well as in post-production, broadcast and TV studios.\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369718887,"sku":"12022","price":1899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_lp_spitcomp.jpg?v=1787088742"},{"product_id":"algorithmix-noisefree-pro","title":"Algorithmix NoiseFree Pro","description":"\u003cp\u003e\u003cstrong\u003eAlgorithmix NoiseFree™ Pro\u003c\/strong\u003e automatically removes or reduces any kind of constant background noise like hiss, surface noise, hum or camera sound.\u003c\/p\u003e\n\u003cp\u003eDue to the Algorithmix® proprietary, psycho-acoustically optimized noise reduction algorithm, NoiseFree™ Pro efficaciously preserves timbre, ambience, and low-level details of the original signal, as well as highly reduces the appearance of artifacts.  On one hand, it can be used for high-resolution re-mastering tasks.  On the other hand, it is a real weapon in cleaning up critical speech recordings for forensic purposes.\u003c\/p\u003e\n\u003cp\u003eOne quite common problem in the daily business of an audio engineer is a noisy signal.  The standard methods of noise extraction by means of filters do not work if spectral components of noise overlap the desired signal.  In such situations the only solution is to use sophisticated signal processing algorithms to suppress unwanted noise in a much more intelligent way.\u003c\/p\u003e\n\u003cp\u003eThe NoiseFree™ Pro DirectX PlugIn effectively removes broadband noise from pre-recorded audio material.  It has been designed to perfectly cover a wide range of applications: from the high-quality de-noising of valuable music treasures, to cleaning location recordings for film from environmental noise, even the treatment of critical forensic material recorded at a very poor signal-to-noise ratio and\/or in reverberate environment.  Typical tasks for the NoiseFree™\u003cstrong\u003e \u003c\/strong\u003ePro include removal of tape-hiss, surface noise of old records and wax cylinders, broadcast noise, microphone and preamp noise, as well as enhancement of conversations and interviews that lack intelligibility.\u003c\/p\u003e\n\u003cp\u003eUnlike other systems, the NoiseFree™ Pro DirectX PlugIn works virtually without artifacts when using the correct settings for all parameters.\u003c\/p\u003e\n\u003cp\u003eThe de-noising process can work based on either the built-in white noise profile or a recorded noise profile.  The unique Learn algorithm allows recording a noise sample from virtually any part of audio material, even if there is no noise-only part available.  A sophisticated five-band Noise Profile EQ is provided for modifying the shape of noise profiles and smoothing them for optimal performance.  The parameters Ambience recovery and Decorrelation allow fine tuning the NoiseFree™ Pro to differentiate between noise and sharp signal transients.  The Chase function--mainly designed for speech de-noising--automatically detects any fluctuations in the background noise and adjusts the Noise Profile according to these changes.\u003c\/p\u003e\n\u003cp\u003eNoiseFree™ Pro works impeccably with sampling rates up to 192 kHz.  Thus it is perfectly suitable for hi-res DSD post-production. 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You will say “no way” and close the project.\u003c\/p\u003e\n\u003cp\u003eThat was yesterday.  Today, we at Algorithmix® are proud to unveil the reNOVAtor™, our unique solution.  In such hopeless situations, reNOVAtor™ successfully rescues problematic live recordings from audio disturbances and unwanted noises.  You will be amazed by the high sound quality of the repaired section and how quickly it works.\u003c\/p\u003e\n\u003cp\u003eThe reNOVAtor™ PlugIn allows localization, identification and very precise removal of unwanted audio events without affecting the audio material you want to keep.  The removed sound is replaced by a signal re-synthesized from the surrounding material.  The reNOVAtor\u003cstrong\u003e™\u003c\/strong\u003e does not make deep gaps in your sound track when eradicating a disturbing sound event.  Rather, it’s an exactly tailored hole in the spectral representation of the processed signal that can be removed and replaced.  The interpolation may even be restricted to certain gain ranges within the selected area, which is very useful if only a certain part of the signal needs to be treated (e.g. one specific harmonic).  The reNOVAtor™ window is fully resizable for increased accuracy and optimal compatibility with all screen resolutions.\u003c\/p\u003e\n\u003cp\u003eWorking with the reNOVAtor™ is easy and intuitive.  The reNOVAtor™ loads the requested part of audio material you've chosen and analyzes it.  The result is displayed as a 3D spectrogram with time on the horizontal axis, frequency on the vertical axis and amplitude of the spectral components color-coded.  The color assignment follows the order of the rainbow: red and yellow for low energy; green and blue for middle energy; and finally purple and white for high energy. After getting some experience, this 3D spectrogram representation allows a good feeling for localization and identification of sudden unwanted acoustical events.  The spectral area of interest can be precisely marked with a resizable rectangular window.  A Play button allows you to hear different parts of the processed signal.\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369817191,"sku":"7911","price":3199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_renovator.jpg?v=1787088742"},{"product_id":"algorithmix-lpeq-orange-phase-linear-eq","title":"Algorithmix LPEQ Orange Phase Linear EQ","description":"\u003cp\u003eEvery mastering engineer knows that equalization of final complex mixes or orchestral recordings with stereo microphones is very critical and limited.\u003c\/p\u003e\n\u003cp\u003eAny correction of a single instrument or vocal part influences other instruments and can negatively change their sound characteristics.  This is because all classic equalizers change the phase of the fundamentals and their harmonics and the phase shift is frequency dependent.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eLinearPhase PEQ Orange\u003c\/strong\u003e does not shift the phase, it only boosts or cuts the amplitude in a given frequency range.  Consequently you can apply much more boost without changing the sound character of your recording.  Due to our proprietary low-noise filter design in the time domain, the distortions (THD+N) are extremely low ensuring crystal clear, neutral, and uncolored sound.\u003c\/p\u003e\n\u003cp\u003eThe LinearPhase PEQ Orange DirectX\/VST PlugIn is unique in the world of audio components. Almost all parametric equalizers being used are implemented with filters that accomplish phase shift, e.g. the original signal is remixed with its phase-shifted version.  Because the amount of the phase shift is frequency dependent some cancellation or amplification at certain desired frequencies takes place.  It works, but with a major disadvantage - the different signal components are spread all over time, so that the time relationship between harmonics in the processed signal is heavily affected.  The result is that a nice sharp bass drum becomes slurred and muddy and vocal tracks become strident or brittle.  Algorithmix is proud to offer you a true remedy against difficult equalizing tasks, the LinearPhase PEQ\u003cstrong\u003e \u003c\/strong\u003eOrange PlugIn, a linear-phase equalizer which can be handled exactly like its classic predecessors, but cannot be \"heard\".\u003cbr\u003e \u003cbr\u003e The LinearPhase PEQ Orange successfully copes with sonic problems that cannot be solved with any classical equalizer without side effects.  You can boost lower frequency regions by even 10dB without mud or slush and with no loss of transients at all.  You can remove the sibilance from a vocal with a sharp notch without affecting the whole mix like occurs when using analog or IIR-based digital EQ.\u003c\/p\u003e\n\u003cp\u003eLinearPhase PEQ Orange better preserve the time relationships of harmonics in the original waveform.  This translates to smoother top end, sweeter and bigger midrange, and a clearer more distinct bottom end as compared with phase-shifted EQ.  The resultant sound seems less processed, more like it occurred naturally in the air in front of the microphone.  The mixes become clear and transparent, the instruments more defined and realistic.\u003cbr\u003e \u003cbr\u003e The LinearPhase PEQ Orange works in the time domain.  It sounds more analytical than its brother, the LinearPhase PEQ Red, and therefore is specially recommended for difficult mastering and re-mastering tasks on dense mixes.  It performs flawlessly with up to 384 kHz sampling frequency and allows extended frequency setup up to 80 kHz, thus being ideally applicable for high-resolution DSD post-processing, including its ultrasonic region.\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369751655,"sku":"7923","price":1499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_lpeq_orange.jpg?v=1787088742"},{"product_id":"algorithmix-lpeq-red-phase-linear-eq","title":"Algorithmix LPEQ Red Phase Linear EQ","description":"\u003cp\u003eEvery mastering engineer knows that equalization of final complex mixes or orchestral recordings with stereo microphones is very critical and limited.\u003c\/p\u003e\n\u003cp\u003eAny correction of a single instrument or vocal part influences other instruments and can negatively change their sound characteristics.  This is because all classic equalizers change the phase of the fundamentals and harmonics and the phase shift is frequency dependent.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eAlgorithmix LinearPhase PEQ Red\u003c\/strong\u003e does not shift the phase.  It only boosts or cuts the amplitude in a given frequency range.  Consequently, you can apply much more boost without changing the sound character of your recording.  Due our proprietary low-noise filter design in the frequency domain, the distortions (THD+N) are extremely low, ensuring crystal clear sound quality.\u003c\/p\u003e\n\u003cp\u003eThe LinearPhase PEQ Red DirectX\/VST PlugIn is unique in the world of audio components. Almost all parametric equalizers being used are implemented with filters that accomplish phase shift, e.g.: the original signal is remixed with its phase-shifted version.  Because the amount of the phase shift is frequency dependent some cancellation or amplification at certain desired frequencies takes place.  It works, but with a major disadvantage--the different signal components are spread all over time, so that the time relationship between harmonics in the processed signal is heavily affected.  The result is that a nice sharp bass drum becomes slurred and muddy, and vocal tracks become strident or brittle. Algorithmix is proud to offer you a true remedy against difficult equalizing tasks--the LinearPhase PEQ Red PlugIn, a linear-phase equalizer which can be handled exactly like its classic predecessors, but cannot be \"heard\".\u003c\/p\u003e\n\u003cp\u003eExperts say that most of digital equalizers do not sound like their analog predecessors, especially when working with low sampling frequencies: 44.1 or 48kHz. Spectrum modifications in the high-frequency region sound as improperly balanced.  The reason is so called frequency warping which makes the bells asymmetric and high shelving and high-cut filters much steeper as theoretically set up.  To make the LinearPhase PEQ Red analog sounding, special corrections have been applied to the original digital filters making them look exactly like their analog references.\u003c\/p\u003e\n\u003cp\u003eThe LinearPhase PEQ Red features the \u003cem\u003eContinuous Slope Filter™\u003c\/em\u003e technology, proprietary to Algorithmix® and the only one of its kind, worldwide.  Unusual flexible shelving and cut filters allow adjustment of any slope in the range from 0 to 24dB\/octave.\u003c\/p\u003e\n\u003cp\u003eThe LinearPhase PEQ Red better preserves the time relationships of harmonics in the original waveform.  This translates to smoother top end, sweeter and bigger midrange, and a clearer more distinct bottom end as compared with phase-shift EQ.  The resultant sound seems less processed, more like it occurred naturally in the air in front of the microphone.  The mixes become clear and transparent, the instruments more defined and \"realistic\".  You can boost lower frequency regions by even 10dB without mud or slush and with no loss of transients at all.  You can remove the sibilance from a vocal with a sharp notch without affecting the whole mix like occurs when using analog or IIR-based digital EQ.\u003c\/p\u003e\n\u003cp\u003eThe LinearPhase PEQ Red works in the frequency domain. It sounds a bit softer than his brother, LinearPhase PEQ Orange.  It perfectly performs with up to 384kHz and allows extended frequency setup up to 80kHz.  These features make it perfectly applicable for high-resolution DSD post-processing, inclusive the ultrasonic region.\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369849959,"sku":"7924","price":1499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_lpeq_redphase.jpg?v=1787088742"},{"product_id":"algorithmix-renovator-pro-tools-on-ppc-mac-g4-g5-windows","title":"Algorithmix reNOVAtor Pro Tools on PPC MAC (G4,G5), Windows","description":"\u003cp\u003e\u003cstrong\u003eAlgorithmix reNOVAtor™\u003c\/strong\u003e helps when all other audio tools and editing tricks fail.\u003cbr\u003e \u003cbr\u003e It can eliminate disturbing audio events while perfectly preserving the sound quality of your original material, because every spectral modification is executed in linear-phase domain.\u003c\/p\u003e\n\u003cp\u003eThis is an extremely time-saving tool for mastering or post-production engineers struggling with disturbing noises in live recorded music, interviews or film sound.  If squeaky chairs, coughs, performance noises, falling keys or ringing phones make your recording unacceptable, take reNOVAtor™!\u003c\/p\u003e\n\u003cp\u003eImagine that during a music festival you recorded a unique live performance in a concert hall or church.  After checking the recorded material in your studio before production and mastering you decide the recording was successful in general, except for a few annoying disturbances during some quiet passages: somebody's cough, a squeaky chair, the horn of a passing truck, a bell from the neighboring clock tower.  In addition, despite the exceptional artistic interpretation there were a few significant errors: a loud scratch in the part of violin soloist and one too early tone in the brass section.\u003c\/p\u003e\n\u003cp\u003eAll this makes your recording unacceptable and, of course, the concert cannot be repeated.  As an experienced tonemeister, you know very well that all traditional techniques and tricks fail when you try to remove the disturbances mentioned above.  In such a situation any kind of traditional equalization or sophisticated editing methods is usually time consuming and causes discontinuities or at least audible changes in level and timbre of the desired signal and ambience. You will say “no way” and close the project.\u003c\/p\u003e\n\u003cp\u003eThat was yesterday.  Today, we at Algorithmix® are proud to unveil the reNOVAtor™, our unique solution.  In such hopeless situations, reNOVAtor™ successfully rescues problematic live recordings from audio disturbances and unwanted noises.  You will be amazed by the high sound quality of the repaired section and how quickly it works.\u003c\/p\u003e\n\u003cp\u003eThe reNOVAtor™ PlugIn allows localization, identification and very precise removal of unwanted audio events without affecting the audio material you want to keep.  The removed sound is replaced by a signal re-synthesized from the surrounding material.  The reNOVAtor\u003cstrong\u003e™\u003c\/strong\u003e does not make deep gaps in your sound track when eradicating a disturbing sound event.  Rather, it’s an exactly tailored hole in the spectral representation of the processed signal that can be removed and replaced.  The interpolation may even be restricted to certain gain ranges within the selected area, which is very useful if only a certain part of the signal needs to be treated (e.g. one specific harmonic).  The reNOVAtor™ window is fully resizable for increased accuracy and optimal compatibility with all screen resolutions.\u003c\/p\u003e\n\u003cp\u003eWorking with the reNOVAtor™ is easy and intuitive.  The reNOVAtor™ loads the requested part of audio material you've chosen and analyzes it.  The result is displayed as a 3D spectrogram with time on the horizontal axis, frequency on the vertical axis and amplitude of the spectral components color-coded.  The color assignment follows the order of the rainbow: red and yellow for low energy; green and blue for middle energy; and finally purple and white for high energy. After getting some experience, this 3D spectrogram representation allows a good feeling for localization and identification of sudden unwanted acoustical events.  The spectral area of interest can be precisely marked with a resizable rectangular window.  A Play button allows you to hear different parts of the processed signal.\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369882727,"sku":"12840","price":3199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_renovator_pro_tools.jpg?v=1787088743"},{"product_id":"algorithmix-scratchfree-pro","title":"Algorithmix ScratchFree Pro","description":"\u003cp\u003eClicks and crackles are inseparable companions of old vinyl and 78 rpm records.  Before re-mastering to CD they have to be removed and the remaining gaps have to be reconstructed properly.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eAlgorithmix ScratchFree™ Pro\u003c\/strong\u003e DirectX Plug-In copes with any kind of transient noises, efficaciously preserving the audio quality of the original signal.\u003c\/p\u003e\n\u003cp\u003eThe ScratchFree™\u003cstrong\u003e \u003c\/strong\u003ePro DirectX Plug-In effectively removes clicks and crackles from old vinyl and shellac records and cleans up audio recordings tainted by switching noise, static discharge, digital cross-talk, or thyristor buzz.\u003c\/p\u003e\n\u003cp\u003eUnlike other systems, the ScratchFree™ Pro DirectX Plug-In works virtually without artifacts when using correct settings for all parameters.  It includes an excellent de-crackling algorithm preserving timbre, ambience, and low-level details in the original signal.\u003c\/p\u003e\n\u003cp\u003eSince the CPU requirement for the ScratchFree™ Pro DirectX Plug-In is very low, you can change and optimize all parameters while listening to the audio in real-time.\u003c\/p\u003e\n\u003cp\u003eThe de-scratching algorithm consists of two main parts: the de-clicking module and the de-crackling module.  While the de-clicking module is used to remove severe clicks from old shellac and vinyl records or switching noise originating from improper setups of digital audio equipment, the de-crackling module removes any remaining small clicks and crackles.\u003c\/p\u003e\n\u003cp\u003eThe signal scope helps you to find ideal settings for the DeCrackler.  The advanced parameters Width, Smooth, and DePlop are useful to minimize the appearance of artifacts.  The unique Differ feature allows intuitive parameter settings.  You can switch between the output signal and the input\/output difference, i.e., the part of input signal taken out by the de-scratching algorithm. Normally, this differential signal should not contain any audible parts of the original audio material that you want to preserve.\u003c\/p\u003e\n\u003cp\u003eScratchFree™ Pro provides pre-defined application profiles (Type).  They preset the internal parameters and external advanced parameters to help you in typical restoration situations: digital spikes, shellac and vinyl.  In addition to its main application, the removal of clicks and crackles, the ScratchFree™ Pro DirectX Plug-In effectively diminishes any kind of distortion caused by signal overload (Clipping).\u003c\/p\u003e","brand":"Algorithmix","offers":[{"title":"Default Title","offer_id":44449369915495,"sku":"7913","price":1899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/algorithmix_scratchfree_pro.jpg?v=1787088743"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/algorithmix.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}