{"title":"MAAT","description":null,"products":[{"product_id":"maat-rsphaseshifter","title":"MAAT RSPhaseShifter - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT RSPhaseShifter\u003c\/strong\u003e incorporates double precision internal processing and algorithms optimized for highest fidelity. Providing a fast, convenient means of aligning individual mix elements for best subjective results, RSPhaseShifter also offers a delta mode, to preview isolated audio reflecting only the content that has been altered by signal processing. This extends the application to the control of frequency–dependent stereo spread for MS workflows. Product features include very high 64 bit resolution, realtime adjustment of resonant frequency, gain compensation, and phase angle from 15 to 360°. MIRROR and FLIP modes speed the selection of two channel settings. Supports AAX, AU, VST2\/3 M\/W, 44.1 to 384 kHz.\u003c\/p\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44450398961767,"sku":"110840","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-rsphaseshifter_110840_1_eda1f11c-3ece-4089-b759-d28387610eac.jpg?v=1787092903"},{"product_id":"maat-droffline-mkii","title":"MAAT DROffline MkII - Electronic Delivery","description":"\u003cp\u003eThe \u003cstrong\u003eMAAT DROffline MkII\u003c\/strong\u003e File Analyzer measures and logs all mandated A\/85 and R128 Loudness metrics, plus critical additional Loudness parameters for engineers working outside of broadcast. Reports on key metadata and file characteristics, and delivers comprehensive statistics and metadata logs to clients \u0026amp; downstream post–production. Fast, secure local background processing. In conjunction with DRMeter MkII (DRM2), drag \u0026amp; drop a file onto the DRM2 plug–in UI, and DRO2 generates a log for immediate inspection.\u003c\/p\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44450398928999,"sku":"110839","price":59.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-droffline-mkii_110839_1_8572197a-c72d-4a13-84b3-8296b37db107.jpg?v=1787092904"},{"product_id":"maat-droffline","title":"MAAT DROffline - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT DROffline\u003c\/strong\u003e file analyzer offers two essential modes for generating integrated DR Dynamic Range values: Individual tracks or entire directories representing an album’s worth of tracks can be batch measured in the background. DR is a de facto standard created in 2009 to gauge the dynamic density or amount of dynamic range compression being applied to popular music. For engineers, DROffline is typically used in conjunction with the companion DRMeter plug–in. For enthusiasts, DROffline is used to measure and compare files in music libraries.\u003c\/p\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44450398994535,"sku":"110835","price":13.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-droffline_110835_1_e7bf15dc-5b4b-4ea9-a073-85d7769e845c.jpg?v=1787092904"},{"product_id":"maat-drmeter-mkii","title":"MAAT DRMeter MkII - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT DRMeter MkII\u003c\/strong\u003e is the first Loudness meter that combines high accuracy R128 and A\/85 conformance with elements expressly for music production. It’s the only Loudness meter that displays channel–specific trends by augmenting mandated mono measurement with classic L\/R metering, and is also the first plug–in to offer both PSR and official DR Dynamic Range to gauge comparative dynamic density. DRMeter MkII premiers Dynamic Deviation, an intuitive presentation of current dynamic density compared to Target Loudness. What’s more, DRMeter MkII introduces DualVu, displaying both relative and absolute scales simultaneously so less effort is required to “stay on target.” The thoroughly comprehensive DRMeter MkII makes all aspects of Loudness tangible and easy to understand, while the round trip MFiT feature eases seamless leveling for iTunes delivery. Multiple metering modes are visible simultaneously, and presets for all major streaming services and broadcast standards highlight the extensive feature mix. DRMeter MkII — One Meter For All Of Us - versatile, intuitive, and complete.\u003c\/p\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44450399027303,"sku":"110836","price":149.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-drmeter-mkii_110836_1_db29ce0b-06fb-4aea-b632-20b88986ac1c.jpg?v=1787092904"},{"product_id":"maat-drmeter","title":"MAAT DRMeter - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT DRMeter\u003c\/strong\u003e offers SPPM and RMS metering plus estimation of DR dynamic range, visually displayed as a real time bar meter plus corresponding numeric fields. Often used with the companion DROffline, the DRMeter plug–in acts as a real time gauge of dynamic density, providing preflight checks during mixing, mastering and monitoring. DR is a de facto standard created in 2009 to gauge the dynamic density or amount of dynamic range compression being applied to popular music.\u003c\/p\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44450399060071,"sku":"110834","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-drmeter_110834_1_74920abe-0f03-4f20-9ae7-bba18182f046.jpg?v=1787092904"},{"product_id":"maat-theqred-linear-phase-equalizer-plug-in-electronic-delivery","title":"MAAT thEQred Linear Phase Equalizer Plug-in - Electronic Delivery","description":"\u003cp\u003eThe \u003cstrong\u003eMAAT thEQred\u003c\/strong\u003e takes the fundamentals of Algorithmix's exemplary LinearPhase PEQ Red and gives them a MAAT makeover. There is no other aesthetic equalizer like thEQred. With its ability to invisibly provide spectral counterweight to mixes that lean one way or another, thEQred excels at straightening up biased content. Add crystalline air without stridency to a dark mix, or beef up lower mids and bass without bloat or loss of focus. With twelve bands or Sections of precision, linear phase parametric equalization featuring unique shelving filters, mastery of complex mixes without changing their overall sonic character is just a few clicks away.\u003c\/p\u003e  \u003cp\u003eThe UI affords super fast setup and includes a number of unique features which help to speed your work: the positive \u0026amp; negative Contribution function including absolute difference, the highly adjustable sonogram which makes detecting problem spots easy, and the possibility to play a note on the keyboard that you have in your head and then snap a Section to that respective frequency with one click. Also, having all twelve Sections visible simultaneously, not to mention the SORT button function.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eFREQUENCY FORWARD\u003c\/h3\u003e  \u003cp\u003ethEQred works in the frequency domain. That is, the input signal is first transformed into a spectral representation. Then, that spectral equivalent is operated upon. Special measures have been taken to ensure high resolution at critical low frequencies while keeping temporal resolution untouched. Unlike common frequency-domain filters, the linear phase approach avoids drums or other instrument containing strong transients from being blurred. In addition, extremely high compute resolution has been used to avoid any cumulative truncation effects typical in complex frequency transforms. This results in unblemished sound quality.\u003c\/p\u003e  \u003cp\u003eThere are other plug–ins on the market using frequency–domain techniques. Most of them apply relatively low frequency resolution and then claim that frequency response mathematically interpolated between a few set points or that freehand drawing is the best solution. This may be true for some industrial applications, but such filters simply don’t sound musical. We’ve worked hard to insure that filter shapes in thEQred exactly match the best analog references. The result is sonic quality that is undisputed, even at baseband 44.1 and 48 kHz rates.\u003c\/p\u003e    \u003ch3 id=\"toc_2\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120414823,"sku":"211446","price":499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-theqred_211446_1.jpg?v=1787095916"},{"product_id":"maat-theqorange-flagship-linear-phase-equalizer-plug-in-electronic-delivery","title":"MAAT thEQorange Flagship Linear Phase Equalizer Plug-In - Electronic Delivery","description":"\u003cp\u003eMany mastering engineers, including MAAT founder Friedemann Tischmeyer, were fans of Algorithmix’s legendary original Linear Phase PEQ Orange. Unfortunately, the Algorithmix EQs were available only as 32-bit VSTs for PC. Tischmeyer’s students repeatedly asked for alternatives, which caused him to scan the market for other high class EQs. Colleague Bob Katz recommended EQuilibrium, an insanely versatile tool, which Tischmeyer used for teaching. However, he could not find a satisfying alternative which would take the place of his original PEQ Orange.\u003c\/p\u003e  \u003cp\u003eThe idea was born to reissue this masterpiece and make it available as 64-bit in all common formats and for macOS. An agreement with Algorithmix was made, and MAAT started up in mid–2017. Algorithmix fans heard of that and reached out, saying \"…just redo it as it is; no extras, no nothing. We just want to have it back in 64-bit and for Mac.\" That was encouraging. As a power user, Tischmeyer had some other ideas in mind regarding the UI. He wanted to make it more flexible and faster to use because there is no other tool in the mastering chain an engineer spends so much setup time with. The result? \"I think we have achieved that. The UI allows super fast setup and has a number of unique features which help to do so: The positive \u0026amp; negative Contribution function including absolute difference, the adjustable sonogram which makes detecting energy spots you want to clean up easy, and the possibility to play a note on the piano you have in your head and just push the respective frequency to the active band section with one right click are just a few of the new features. What I like too is that I have an overview of all Sections as opposed to just one Section at a time\" In order to not end up with a strange Section order when using many filters, MAAT also added the SORT button so your Sections are always in ascending order.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eUNOBTRUSIVE POWER\u003c\/h3\u003e  \u003cp\u003ethEQorange’s powerful features hide behind its clean and simple UI. Eye candy is great for newbies, but thEQo isn’t typical. It packs all the advanced features you need into one resizable window that’s easy on the eyes. Not only does the UI “get out of the way” so you can be more productive, we’ve incorporated industry–first features that speed your workflow, neatly packaged to make thEQorange easy and intuitive to use. An example is the ability to freely assign Sections to either stereo [left\/right] or sum\/difference [L+R\/L-R] at the same time.\u003c\/p\u003e  \u003cp\u003eMAAT have brought pristine fidelity and innovative user interface design to what used to be an unremarkable product category. With four monitoring modes, an ergonomic and uncluttered interface, intelligent monitor auto–gain plus crazy good sound, you’ve got to try thEQorange for yourself.\u003c\/p\u003e    \u003ch3 id=\"toc_2\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120742503,"sku":"211445","price":599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-theqorange_211445_1.jpg?v=1787095915"},{"product_id":"maat-theqblue6-graphic-equalizer-plug-in-with-6-analog-modes-electronic-delivery","title":"MAAT thEQblue6 Graphic Equalizer Plug-In with 6 Analog Modes - Electronic Delivery","description":"\u003cp\u003eThe equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies. For a century, engineers have developed countless equalizers. A few became legend, the thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound. As Spidey (and Voltaire) always reminds us though, \"With great power comes great responsibility.\" When designed by a clueless or cost–constrained software engineer, it can truly degrade your work.\u003c\/p\u003e  \u003cp\u003eCustomers of the original LinearPhase PEQ Red and Orange asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, MAAT's Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledge base of analog EQ best practices. Cherrypicking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analog antecedents, while others are based on new ideas.\u003c\/p\u003e  \u003cp\u003eThe \u003cstrong\u003eMAAT thEQblue6\u003c\/strong\u003e features six variations of blue, newly revised by MAAT. They have also added subtle but important touches, like the ability to freely assign Sections to either stereo [left\/right] or sum\/difference [L+R\/L-R] at the same time, and to “group” all Sections and make a global gain change without disturbing the relationship of individual Sections.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eDIGITAL VERSIONS OF THE ORIGINAL\u003c\/h3\u003e  \u003cp\u003eMAAT wanted to lift analog to another level, so they reverse engineered a variety of well respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analog baggage, the \u003cstrong\u003eMAAT thEQblue\u003c\/strong\u003e has no noise, distortion or other secondary effects inherited from analog.\u003c\/p\u003e  \u003cp\u003eAll minimum phase equalizers work by summing a phase shifted version with the original. thEQblue is the most complete collection of classic. minimum phase equalizer Architectures ever assembled into one package. You get precise, idealized examples of legendary analog equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, thEQblue is a sonic sandbox for every mixing and mastering engineer to play in.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eDITHER…FOR YOUR BRAIN\u003c\/h3\u003e  \u003cp\u003eEven though thEQblue is lauded by the top echelon of audio pros, MAAT weren’t satisfied. The sound quality was as good as anything available, but benchmark analog still had an edge. So, they added a radical new tech to thEQblue. It’s called FiDef and it adds that indescribable beauty lent by the best of analog.\u003c\/p\u003e  \u003cp\u003eFiDef by FideliQuest is a very low amplitude, psychoacoustic stimulus designed specifically for audio engineers. FiDef can be thought of as dither for your brain. It makes a receptive brain relax and pay closer attention to an incoming audio stimulus. In brain physiology laboratory tests using functional neuroimaging techniques, FiDef has proven to excite brain activity related to perception and attention, and to enhance the subjective processes of listening and engagement.\u003c\/p\u003e  \u003cp\u003eYou have to simply try FiDef and see if you hear an improvement. You may, or maybe not. Better yet, give your customer two almost identical versions of a song, the only difference being FiDef or no FiDef, and let them decide.\u003c\/p\u003e  \u003ch3 id=\"toc_2\"\u003eCHOICE IS GOOD\u003c\/h3\u003e  \u003cp\u003eIn order to give you a choice of features and price, thEQblue is available in two versions. thEQblue6 includes six architectures: \u003c\/p\u003e  \u003cul\u003e \u003cli\u003eClassic Sym: Series symmetrical, almost constant Q bell — common mix desk \u0026amp; outboard gear Architecture, try on “surgical” applications\u003c\/li\u003e \u003cli\u003eClassic Asym  : Series asymmetrical — Old Skool, boost like № 1 but with narrower cut\u003c\/li\u003e \u003cli\u003eProportional 1: Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at \u0026lt;6dB and narrower at \u0026gt;6dB\u003c\/li\u003e \u003cli\u003eProportional 2: Series proportional — Like № 3 but with bigger changes at large gain settings \u0026gt; ±6dB, try on vocals\u003c\/li\u003e \u003cli\u003eProportional 3: Series proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB\u003c\/li\u003e \u003cli\u003eConst-Q Asym: Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products \u0026amp; mixers\u003c\/li\u003e \u003c\/ul\u003e    \u003ch3 id=\"toc_4\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120775271,"sku":"211448","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-theqblue_211448_1.jpg?v=1787095915"},{"product_id":"maat-theqblue12-graphic-equalizer-plug-in-with-12-analog-modes-electronic-delivery","title":"MAAT thEQblue12 Graphic Equalizer Plug-In with 12 Analog Modes - Electronic Delivery","description":"\u003cp\u003eThe equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies. For a century, engineers have developed countless equalizers. A few became legend, the thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound. As Spidey (and Voltaire) always reminds us though, \"With great power comes great responsibility.\" When designed by a clueless or cost–constrained software engineer, it can truly degrade your work.\u003c\/p\u003e  \u003cp\u003eCustomers of the original LinearPhase PEQ Red and Orange asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, MAAT's Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledge base of analog EQ best practices. Cherrypicking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analog antecedents, while others are based on new ideas.\u003c\/p\u003e  \u003cp\u003eThe \u003cstrong\u003eMAAT thEQblue6\u003c\/strong\u003e features six variations of blue, newly revised by MAAT. They have also added subtle but important touches, like the ability to freely assign Sections to either stereo [left\/right] or sum\/difference [L+R\/L-R] at the same time, and to “group” all Sections and make a global gain change without disturbing the relationship of individual Sections.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eDIGITAL VERSIONS OF THE ORIGINAL\u003c\/h3\u003e  \u003cp\u003eMAAT wanted to lift analog to another level, so they reverse engineered a variety of well respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analog baggage, the \u003cstrong\u003eMAAT thEQblue\u003c\/strong\u003e has no noise, distortion or other secondary effects inherited from analog.\u003c\/p\u003e  \u003cp\u003eAll minimum phase equalizers work by summing a phase shifted version with the original. thEQblue is the most complete collection of classic. minimum phase equalizer Architectures ever assembled into one package. You get precise, idealized examples of legendary analog equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, thEQblue is a sonic sandbox for every mixing and mastering engineer to play in.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eDITHER…FOR YOUR BRAIN\u003c\/h3\u003e  \u003cp\u003eEven though thEQblue is lauded by the top echelon of audio pros, MAAT weren’t satisfied. The sound quality was as good as anything available, but benchmark analog still had an edge. So, they added a radical new tech to thEQblue. It’s called FiDef and it adds that indescribable beauty lent by the best of analog.\u003c\/p\u003e  \u003cp\u003eFiDef by FideliQuest is a very low amplitude, psychoacoustic stimulus designed specifically for audio engineers. FiDef can be thought of as dither for your brain. It makes a receptive brain relax and pay closer attention to an incoming audio stimulus. In brain physiology laboratory tests using functional neuroimaging techniques, FiDef has proven to excite brain activity related to perception and attention, and to enhance the subjective processes of listening and engagement.\u003c\/p\u003e  \u003cp\u003eYou have to simply try FiDef and see if you hear an improvement. You may, or maybe not. Better yet, give your customer two almost identical versions of a song, the only difference being FiDef or no FiDef, and let them decide.\u003c\/p\u003e  \u003ch3 id=\"toc_2\"\u003eCHOICE IS GOOD\u003c\/h3\u003e  \u003cp\u003eIn order to give you a choice of features and price, thEQblue is available in two versions. thEQblue12 includes twelve architectures: \u003c\/p\u003e  \u003cul\u003e \u003cli\u003eClassic Sym: Series symmetrical, almost constant Q bell — common mix desk \u0026amp; outboard gear Architecture, try on “surgical” applications\u003c\/li\u003e \u003cli\u003eClassic Asym  : Series asymmetrical — Old Skool, boost like № 1 but with narrower cut\u003c\/li\u003e \u003cli\u003eProportional 1: Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at \u0026lt;6dB and narrower at \u0026gt;6dB\u003c\/li\u003e \u003cli\u003eProportional 2: Series proportional — Like № 3 but with bigger changes at large gain settings \u0026gt; ±6dB, try on vocals\u003c\/li\u003e \u003cli\u003eProportional 3: Series proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB\u003c\/li\u003e \u003cli\u003eConst-Q Asym: Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products \u0026amp; mixers\u003c\/li\u003e \u003cli\u003eConst-Q Asy R: Series asymmetrical, constant Q — Like № 6 but with mirrored boost \u0026amp; cut\u003c\/li\u003e \u003cli\u003eConst-Q Invers: Series symmetrical, constant Q — Similar to № 7\u003c\/li\u003e \u003cli\u003eConst-Q New: Series proportional, constant Q — Our proprietary Architectural style…try it, we know you’ll like it!\u003c\/li\u003e \u003cli\u003eConst-Q Ideal: Series ideal \u0026amp; constant Q — Another special, similar to № 1, all three parameters (resonant ƒ, gain \u0026amp; Q) are independent, no analog relatives!\u003c\/li\u003e \u003cli\u003eParallel FF-FB: Parallel feed forward\/feedback — Complementary amplitude and phase characteristics for boost \u0026amp; cut (symmetrical), found in high end graphic EQs, 1st choice for mastering [reference Massenburg]\u003c\/li\u003e \u003cli\u003eParallel LC: Parallel passive LC — Tonal advantages with band interaction \u0026amp; asymmetry disadvantages, found in old or newly recreated PEQs, another choice for mastering [reference Massive Passive, Sontec]\u003c\/li\u003e \u003c\/ul\u003e    \u003ch3 id=\"toc_4\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120808039,"sku":"211447","price":399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-theqblue_211448_1_82a943a6-19d8-4b32-9966-becddcf4db2a.jpg?v=1787095916"},{"product_id":"maat-santacruzeq12-graphic-equalizer-plug-in-with-12-analog-modes-electronic-delivery","title":"MAAT SantaCruzEQ12 Graphic Equalizer Plug-In with 12 Analog Modes - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT SantaCruzEQ12\u003c\/strong\u003e is a complete collection of classic equalizer architectures, assembled into one package. You get precise, idealized examples of legendary analog equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, SantaCruzEQ is a sonic sandbox for every mixing and mastering engineer to mess around in.\u003c\/p\u003e  \u003cp\u003eCustomers of the original LinearPhase PEQ Red and Orange asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, MAAT's Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledge base of analog EQ best practices. Cherry picking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analog antecedents, while others are based on new ideas.\u003c\/p\u003e  \u003cp\u003eMAAT reverse engineered a variety of well respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analog baggage, SantaCruzEQ has no noise, distortion or other secondary effects inherited from analog.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eBFF\u003c\/h3\u003e  \u003cp\u003eThe equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies.\u003c\/p\u003e  \u003cp\u003eFor a century, engineers have developed countless equalizers. A few became legend, the thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eCHOICE IS GOOD\u003c\/h3\u003e  \u003cp\u003eIn order to give you a choice of features and price, SantaCruzEQ is available in two versions. SantaCruzEQ12 includes twelve architectures:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eClassic Sym: Series symmetrical, almost constant Q bell — common mix desk \u0026amp; outboard gear Architecture, try on “surgical” applications\u003c\/li\u003e \u003cli\u003eClassic Asym: Series asymmetrical — Old Skool, boost like № 1 but with narrower cut\u003c\/li\u003e \u003cli\u003eProportional 1Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at \u0026lt;6dB and narrower at \u0026gt;6dB\u003c\/li\u003e \u003cli\u003eProportional 2: Series proportional — Like № 3 but with bigger changes at large gain settings \u0026gt; ±6dB, try on vocals\u003c\/li\u003e \u003cli\u003eProportional 3: Series proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB\u003c\/li\u003e \u003cli\u003eConst-Q Asym: Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products \u0026amp; mixers\u003c\/li\u003e \u003cli\u003eConst-Q Asy R: Series asymmetrical, constant Q — Like № 6 but with mirrored boost \u0026amp; cut\u003c\/li\u003e \u003cli\u003eConst-Q Invers: Series symmetrical, constant Q — Similar to № 7\u003c\/li\u003e \u003cli\u003eConst-Q New: Series proportional, constant Q — MAAT's special Architecture\u003c\/li\u003e \u003cli\u003eConst-Q Ideal: Series ideal \u0026amp; constant Q — Another special, similar to № 1, all three parameters (resonant ƒ, gain \u0026amp; Q) are independent, no analog relatives!\u003c\/li\u003e \u003cli\u003eParallel FF-FB: Parallel feed forward\/feedback — Complementary amplitude and phase characteristics for boost \u0026amp; cut (symmetrical), found in high end graphic EQs, 1st choice for mastering [reference Massenburg]\u003c\/li\u003e \u003cli\u003eParallel LC: Parallel passive LC — Tonal advantages with band interaction \u0026amp; asymmetry disadvantages, found in old or newly recreated PEQs, another choice for mastering [reference Massive Passive, Sontec]\u003c\/li\u003e \u003c\/ul\u003e    \u003ch3 id=\"toc_3\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120840807,"sku":"211437","price":199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-santacruzeq_211437_1.jpg?v=1787095916"},{"product_id":"maat-santacruzeq6-graphic-equalizer-plug-in-with-6-analog-modes-electronic-delivery","title":"MAAT SantaCruzEQ6 Graphic Equalizer Plug-In with 6 Analog Modes - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT SantaCruzEQ6\u003c\/strong\u003e is a complete collection of classic equalizer architectures, assembled into one package. You get precise, idealized examples of legendary analog equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, SantaCruzEQ is a sonic sandbox for every mixing and mastering engineer to mess around in.\u003c\/p\u003e  \u003cp\u003eCustomers of the original LinearPhase PEQ Red and Orange asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, MAAT's Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledge base of analog EQ best practices. Cherry picking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analog antecedents, while others are based on new ideas.\u003c\/p\u003e  \u003cp\u003eMAAT reverse engineered a variety of well respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analog baggage, SantaCruzEQ has no noise, distortion or other secondary effects inherited from analog.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eBFF\u003c\/h3\u003e  \u003cp\u003eThe equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies.\u003c\/p\u003e  \u003cp\u003eFor a century, engineers have developed countless equalizers. A few became legend, the thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eCHOICE IS GOOD\u003c\/h3\u003e  \u003cp\u003eIn order to give you a choice of features and price, SantaCruzEQ is available in two versions. SantaCruzEQ6 includes six architectures:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eClassic Sym: Series symmetrical, almost constant Q bell — common mix desk \u0026amp; outboard gear Architecture, try on “surgical” applications\u003c\/li\u003e \u003cli\u003eClassic Asym: Series asymmetrical — Old Skool, boost like № 1 but with narrower cut\u003c\/li\u003e \u003cli\u003eProportional 1Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at \u0026lt;6dB and narrower at \u0026gt;6dB\u003c\/li\u003e \u003cli\u003eProportional 2: Series proportional — Like № 3 but with bigger changes at large gain settings \u0026gt; ±6dB, try on vocals\u003c\/li\u003e \u003cli\u003eProportional 3: Series proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB\u003c\/li\u003e \u003cli\u003eConst-Q Asym: Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products \u0026amp; mixers\u003c\/li\u003e \u003cli\u003e\u003ch3 id=\"toc_2\"\u003eFEATURES:\u003c\/h3\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eThe most complete collection of classic analog equalizer emulations\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eSix different equalizer types; in total, 10 serial \u0026amp; 2 parallel\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eUp to 12 PEQ styles for every job: classic, vintage, modern and unconventional\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eDifferent Q characteristics: classic, constant–Q, proportional, ideal–Q and special\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eTrue high resolution emulation of analog equalizers, not modeling: no added noise, distortion or other non–linearities\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eSupport for up to 384 kHz sample rate, suitable for HRA and game production and post\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eExtended center frequency up to 80 kHz for filtering and correction in the ultrasonic\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eBell filters in all PEQ types are normalized to look identically at +6.02 dB of gain and Q of 0.71, ideal for quick comparisons between types\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eSix Sections total, with four having freely assignable parametric filter variants: bell; multi–order high \u0026amp; low shelf; multi–order high \u0026amp; low cut\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003e“Outer” Sections, the first and last, offer multi–order high \u0026amp; low shelf and multi–order high \u0026amp; low cut\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eExtremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24 bit quantization noise\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eAdjustable Q Factor for bell filters\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eAdjustable slope for shelving and cut filters\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eMultiple low and high cut filters can be overlapped to achieve brickwall slopes\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eVery low noise and distortion upsampling for analog–like filters at baseband sample rates\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eInsane 80 bit “long double” precision internals virtually eliminate rounding errors and resulting distortion\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eResizable and zoomable frequency response graphing for precise adjustments\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eParameter editing via numerical fields or directly on the Graph\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003ePresets for quick setup comparison\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eSeveral instances, each with different PEQ architectures, can be opened simultaneously\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eBand grouping function lets you simultaneously alter ƒ, Q and gain for multiple Sections\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eƒ lock function when you’ve found your resonant frequency and want to alter just Q or gain\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eTrue Peak metering alerts you to TP overs\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003eSort button rearranges Sections in order, from low to high ƒ, with a single click\u003c\/p\u003e\u003c\/li\u003e \u003c\/ul\u003e  \u003ch3 id=\"toc_3\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120873575,"sku":"211438","price":169.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-santacruzeq_211437_1_06dee018-142b-4c57-b12a-1640020a175d.jpg?v=1787095916"},{"product_id":"maat-linsurround-electronic-delivery","title":"MAAT LINSurround Multi-Channel Dithering Plug-In - Electronic Delivery","description":"\u003cp\u003eSharing the same user interface, MAAT's two channel and multichannel LIN family are your final link between production and delivery. Offering optional word length reduction and seven noise shaping spectra tailored to both analog and digital delivery of assets, LIN is highly adjustable to help create your own signature \"sound.\" In addition to TPD and weighted TPD, \u003cstrong\u003eMAATSurround\u003c\/strong\u003e and LINpro feature four newly developed fifth, eighth and ninth order psychoacoustic noise shaping choices. As with all dithering mechanisms, LIN must be the very last plug–in instance, just prior to converting to the final, fixed–point format.\u003c\/p\u003e  \u003cp\u003eLINpro and LINSurround incorporate the latest advances in auditory and psychoacoustic research. Older, outdated dithering engines rely on decades–old approaches to the problem. MAAT evaluated their original LINearise engine and realized that they could \"do it\" even better, implementing a more accurate, mathematically superior approach plus new thinking on both the User Experience (UX) and how you want your master to sound. Whether you're delivering a 16 bit Red Book dupe master, a 24 bit \"high res\" 88.2k file to today's higher fidelity streaming services, or multichannel 48k stems for video and motion picture surround work, the LIN family will take you there with the best sounding tracks obtainable.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eNEED MORE?\u003c\/h3\u003e  \u003cp\u003eLINpro and LINSurround have it. As you'd expect, automatic muting and variable bit depth, 16 or 24 bits, but also a choice of 8 bit output to instantly hear how your current choice \"sounds.\" In addition to Triangular Probability Density Function (TPDF) and High Passed TPDF, rectangular dither is also available for educational or experimental exploration.\u003c\/p\u003e  \u003cp\u003eRounding performs fundamental linearization, what can be thought of as very low amplitude distortion reduction, by representing all former least significant bits with one single LSB in the resulting word length–reduced version. On the other hand, truncation does not preserve any of that low amplitude information. Instead, it's just thrown away. LINpro and LINSurround are one of the only redithering products available that offers a choice between rounding and truncation.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eEYES ON IT\u003c\/h3\u003e  \u003cp\u003eLINpro and LINSurround bring visual certainty to the arcane art of dithering. MAAT have included real world plots of each noise shape for your viewing pleasure. These are not MATLAB simulations, they are actual plots generated by LINpro's optimized dither engine. Notice that the -100dBFS input signal, that spike at the left side of the plot, is preserved even though the word length has been reduced to 16 bits. A 16–bit word can only encode or store 96dB of dynamic range. Any information quieter than -96dBFS should be lost when reducing the word length to 16 bits. With LIN, up to the 19th bit of the input signal is preserved, embedded in the resulting 16–bit word.\u003c\/p\u003e  \u003cp\u003eDither is a fundamental aspect of today's DAWs. Although not usually thought of as such, re-dithering is important DSP (Digital Signal Processing). In the distant past, much of the pioneering research on dither was performed at Bell Labs. According to information theory, you should add a pinch of noise to your digital audio every time you alter it to keep it distortion–free and to preserve program content by embedding it in the noise floor. That's dither. Use it to make your digital audio less…\"digital!\"\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003emacOS 10.9 and newer, Universal Binary 2, 64-bit only\u003c\/li\u003e \u003cli\u003eWindows 7 and newer, 32 \u0026amp; 64-bit\u003c\/li\u003e \u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e \u003cli\u003eSample rates from 44.1 to 384 kHz\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120971879,"sku":"211444","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-linpro_211443_1.jpg?v=1787095916"},{"product_id":"maat-maatgo-universal-monitor-control-and-visualization-plug-in-electronic-delivery","title":"MAAT MAATgo Universal Monitor Control and Visualization Plug-In - Electronic Delivery","description":"\u003cp\u003eAvailable for all major plug-in formats, including VST 2, VST 3 and AAX for macOS and Windows plus Audio Units for macOS, \u003cstrong\u003eMAAT MAATgo\u003c\/strong\u003e delivers complete \"preamp\" or monitor controller–style channel routing, plus a software goniometer that authentically replicates an analog oscilloscope experience. Modern classical and soundtrack composer Max Richter once wrote, \"I feel like every instrument should have an oscilloscope.\" With MAATgo, they can!\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eDIVE DEEPER\u003c\/h3\u003e  \u003cp\u003eIf music is your profession, your passion or both, MAATgo is for you. MAATgo is explicitly built for everyone who listens to HRA (High Resolution Audio) files and streams on their computer. Whether your mixing, mastering or just sinking into your fave recording, MAATgo will enhance your experience and provide for more informed listening.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eCONTROL IS POWER\u003c\/h3\u003e  \u003cp\u003eHiding behind a simple interface, MAATgo is a powerful analytical tool. With more functions than most hardware monitor controllers, MAATgo gives you the ability to quickly check mono folddown plus isolated left\/right channels as well as L minus R and potential phase pitfalls. It’s your early warning plug–in for additional safety checks to prevent downstream surprises with their associated lost time and revenue.\u003c\/p\u003e  \u003ch3 id=\"toc_2\"\u003eEXTENSIVE FEATURES\u003c\/h3\u003e  \u003cp\u003eMAATgo combines a variety of channel steering and blending controls with a balance adjustment and goniometer. Some of the stereo image and routing controls include a sum or L+R mode, a difference or L-R mode, a swap mode that interchanges the position of left and right, and polarity inversion for left, right or both.\u003c\/p\u003e  \u003cp\u003eMAATgo offers five essential options for specialized monitoring modes. Solo is available, pre-vectorscope, with a single button push. Traditional left\/right soloing (as phantom center) can be chosen, or the equally useful MONO\/DIFF(erence) or M\/S (Mid\/Side) rendering of the soloed signal. Mono mode lets you listen for any cancellation in the phantom center, and is also important for checking how the center relates to the edge with content panned for separation.\u003c\/p\u003e  \u003cp\u003eIn addition, the stereo perspective can be swapped or flipped with the left and right channels changing places. Each solo control is a single button, allowing you to check placement and amplitude easily for all aspects of your mix.\u003c\/p\u003e  \u003cp\u003eThe L-R (Left Minus Right) mode can be used for \"karaoke\" since many popular songs have mostly monaural vocals. Since L-R mode removes any mono content, vocals are usually reduced significantly or eliminated entirely. If you’re listening for pleasure, this let’s you sing along, accompanied by the rhythm track. L-R mode is also handy for setting up cartridge or tape head azimuth. Another valuable feature, the polarity inversion modes let you check signal chain integrity, while the left–only and right–only controls offer a more nuanced view into your stereo soundfield.\u003c\/p\u003e  \u003ch3 id=\"toc_3\"\u003eSEE WHAT YOU’RE HEARING\u003c\/h3\u003e  \u003cp\u003eThe goniometer or \"phase scope\" quickly conveys global trends and troubles, letting you gauge frequency response and phase shift, with an additional visual out–of–phase warning built in. Plus, an optional autogain feature insures that you’ll see an understandable display with a wide range of input amplitudes.\u003c\/p\u003e  \u003cp\u003eVisualization has long been part of music on a computer, and MAATgo’s options are easy to like. Unlike an oscilloscope which takes up room in your equipment rack, MAATgo has a notable absence of knobs. Control over gain, focus, \"phosphor\" color, drawing style and persistence are all there in the prefs, and your preferences can be saved as a personal preset.\u003c\/p\u003e  \u003ch3 id=\"toc_4\"\u003eSTREAM THROUGH\u003c\/h3\u003e  \u003cp\u003eA bonus with MAATgo is the standalone or \"native\" version that’s included. It’s native in that it runs on its own, without the help of a DAW, plug–in host or player app. The standalone version let’s you really saavy geeks out there use MAATgo as a stream–through processor for a dedicated metering machine, just like component separates in the hi–fi hardware world. To use MAATgo standalone, you usually need a \"virtual audio device,\" an audio driver that provides a soft device your operating system can use for audio patching.\u003c\/p\u003e  \u003ch3 id=\"toc_5\"\u003eHISTORY REPEATS\u003c\/h3\u003e  \u003cp\u003eIn the Golden Age of consumer hi–fi, some preamplifiers had not only a \"balance\" knob, but stereo\/mono blend controls and even an oscilloscope to instantaneously display amplitude, frequency and the phase relationship between left and right channels. Marantz, Panasonic, Pioneer and SAE sometimes included an oscilloscope in their receivers, while the Apt Corporation’s legendary and groundbreaking Holman Preamplifier had a range of channel re–routing switches and a continuous stereo\/mono blend control. This was not \"feature creep,\" needless features just to fill out a list. The Apt’s re–patching and intermix controls served a very useful purpose.\u003c\/p\u003e  \u003cp\u003eBack in the Analog Era, when pros had custom hardware or monitor sections on their desk, most hi–fi enthusiasts had \"separates.\" These were individual stereo components, like a tuner or preamp, each serving one purpose. With the advent of \"computer audio,\" that rig can been reduced to a personal computer feeding a DAC or digital–to–analog converter. In turn, the DAC feeds a power amplifier or powered loudspeakers. While this minimalist setup eliminates a preamplifier, it has only a volume control and most player applications lack typical controls other than volume. Enter MAATgo, a preamp’s worth of advanced choices. When any of the controls are disabled, they are completely \"out of circuit\" and do not affect the sound quality. When any control is enabled, it’s DSP uses 64 bit, double precision floating point math to ensure maximum fidelity. Also, MAATgo will operate at up to 384 kHz, compatible with the highest fidelity lossless PCM files and streams generally available.\u003c\/p\u003e  \u003ch3 id=\"toc_6\"\u003eIT ALL ADDS UP TO VERSATILE\u003c\/h3\u003e  \u003cp\u003eBetter informed means better enjoyment…Whether you’re troubleshooting an issue, setting up a new system, or just exploring the nuances of your or your client’s music, MAATgo makes it easier. With all of its functionality, it’s a no–brainer for day–to–day pro audio. For audiophiles and enthusiasts, it’s faster and more pleasant to track down a noisy cable or component, burn in new speakers or headphones, set up a new cartridge or tonearm, or even figure out how a reissue sounds different from the previous generation. All that and more with just a button click.\u003c\/p\u003e  \u003ch3 id=\"toc_7\"\u003eEASY ON YOU…AND YOUR SYSTEM\u003c\/h3\u003e  \u003cp\u003eAll of MAATgo’s functionality is wrapped in an information-rich yet visually unobtrusive, resizable user interface that occupies only a small slice of screen real estate. Likewise, the plug-in is very \"light weight,\" demanding an absolute minimum of CPU resources so it won’t slow down your DAW, player or host.\u003c\/p\u003e  \u003cp\u003eLow cost, unprecedented control and intuitive operation all add up to MAATgo as a must–have tweak to any computer audiophile’s or in–the–box engineer’s playback solution.\u003c\/p\u003e  \u003ch3 id=\"toc_8\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003emacOS 10.9 and newer, Universal Binary 2, 64-bit only\u003c\/li\u003e \u003cli\u003eWindows 7 and newer, 32 \u0026amp; 64-bit\u003c\/li\u003e \u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e \u003cli\u003eSample rates from 44.1 to 384 kHz\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120939111,"sku":"211440","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-maatgo_211440_1.jpg?v=1787095916"},{"product_id":"maat-mtg-guided-gap-filler-and-looper-electronic-delivery","title":"MAAT MtG Guided Gap Filler and Looper - Electronic Delivery","description":"\u003cp\u003eStreamlining workflows for spoken word, sound–for–picture, podcast and broadcast production, \u003cstrong\u003eMAAT MtG\u003c\/strong\u003e automatically fills gaps, of any length, in edited tracks. The plug–in supplies smoothly looped audio, with controls for visualizing and defining loop fills, along with gain controls to seamlessly integrate the looped audio into your material.\u003c\/p\u003e  \u003cp\u003eUse MtG to speed up creation of your music beds, ambience, actualities, foley and, of course, radio and TV audio; anywhere continuous seamless repetitive audio is needed. A cross–platform plug–in, MtG works in your favorite DAW at whatever sample rate you need. For radio, television and podcasting work, go with 44.1 or 48k. For game audio, cinematic production or whenever clarity and resolution is paramount, MtG handles up to 384 kHz with ease.\u003c\/p\u003e  \u003cp\u003eNot all DAWs behave the same, and MtG knows that. It includes safeguards that inform you if your DAW isn’t ready to play nice with MtG, reducing error and frustration. MtG also includes zoom controls to quickly identify any inaudible and undesirable material you may want to remove from your loop.\u003c\/p\u003e    \u003ch3 id=\"toc_1\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMacOS 10.9 Mavericks and above\u003c\/li\u003e \u003cli\u003eWindows 7 and above (32 and 64-bit)\u003c\/li\u003e \u003cli\u003eIntel or AMD CPU\u003c\/li\u003e \u003cli\u003ePlug-in formats: AAX Native, AU, VST2, and VST3\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451120906343,"sku":"211441","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-mtg_211441_1.jpg?v=1787095916"},{"product_id":"maat-linpro-electronic-delivery","title":"MAAT LINpro Stereo Dithering Plug-In - Electronic Delivery","description":"\u003cp\u003eSharing the same user interface, MAAT's two channel and multichannel LIN family are your final link between production and delivery. Offering optional word length reduction and seven noise shaping spectra tailored to both analog and digital delivery of assets, LIN is highly adjustable to help create your own signature \"sound.\" In addition to TPD and weighted TPD, \u003cstrong\u003eMAAT LINpro\u003c\/strong\u003e and LINSurround feature four newly developed fifth, eighth and ninth order psychoacoustic noise shaping choices. As with all dithering mechanisms, LIN must be the very last plug–in instance, just prior to converting to the final, fixed–point format.\u003c\/p\u003e  \u003cp\u003eLINpro and LINSurround incorporate the latest advances in auditory and psychoacoustic research. Older, outdated dithering engines rely on decades–old approaches to the problem. MAAT evaluated their original LINearise engine and realized that they could \"do it\" even better, implementing a more accurate, mathematically superior approach plus new thinking on both the User Experience (UX) and how you want your master to sound. Whether you're delivering a 16 bit Red Book dupe master, a 24 bit \"high res\" 88.2k file to today's higher fidelity streaming services, or multichannel 48k stems for video and motion picture surround work, the LIN family will take you there with the best sounding tracks obtainable.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eNEED MORE?\u003c\/h3\u003e  \u003cp\u003eLINpro and LINSurround have it. As you'd expect, automatic muting and variable bit depth, 16 or 24 bits, but also a choice of 8 bit output to instantly hear how your current choice \"sounds.\" In addition to Triangular Probability Density Function (TPDF) and High Passed TPDF, rectangular dither is also available for educational or experimental exploration.\u003c\/p\u003e  \u003cp\u003eRounding performs fundamental linearization, what can be thought of as very low amplitude distortion reduction, by representing all former least significant bits with one single LSB in the resulting word length–reduced version. On the other hand, truncation does not preserve any of that low amplitude information. Instead, it's just thrown away. LINpro and LINSurround are one of the only redithering products available that offers a choice between rounding and truncation.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eEYES ON IT\u003c\/h3\u003e  \u003cp\u003eLINpro and LINSurround bring visual certainty to the arcane art of dithering. MAAT have included real world plots of each noise shape for your viewing pleasure. These are not MATLAB simulations, they are actual plots generated by LINpro's optimized dither engine. Notice that the -100dBFS input signal, that spike at the left side of the plot, is preserved even though the word length has been reduced to 16 bits. A 16–bit word can only encode or store 96dB of dynamic range. Any information quieter than -96dBFS should be lost when reducing the word length to 16 bits. With LIN, up to the 19th bit of the input signal is preserved, embedded in the resulting 16–bit word.\u003c\/p\u003e  \u003cp\u003eDither is a fundamental aspect of today's DAWs. Although not usually thought of as such, re-dithering is important DSP (Digital Signal Processing). In the distant past, much of the pioneering research on dither was performed at Bell Labs. According to information theory, you should add a pinch of noise to your digital audio every time you alter it to keep it distortion–free and to preserve program content by embedding it in the noise floor. That's dither. Use it to make your digital audio less…\"digital!\"\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003emacOS 10.9 and newer, Universal Binary 2, 64-bit only\u003c\/li\u003e \u003cli\u003eWindows 7 and newer, 32 \u0026amp; 64-bit\u003c\/li\u003e \u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e \u003cli\u003eSample rates from 44.1 to 384 kHz\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451121004647,"sku":"211443","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-linpro_211443_1_d709f64f-3259-44ac-a9ba-d1ffee1184e2.jpg?v=1787095916"},{"product_id":"maat-linone-essential-dithering-plug-in-electronic-delivery","title":"MAAT LINone Essential Dithering Plug-In - Electronic Delivery","description":"\u003cp\u003e\u003cstrong\u003eMAAT LINone\u003c\/strong\u003e is your easy to use, lower cost entry into a world of better delivery. LINone gives you the essentials;  precision, 1st order noise shaped dithering for 16 or 24 bit delivery using LINpro’s superior, modern engine. LINone provides basic, high precision dithering at a price anyone can afford. Plus, LINone’s dither is more accurate and better sounding than the dither built into several popular DAWs. Compare LINone’s exacting action with your DAWs in–built dither.\u003c\/p\u003e    \u003ch3 id=\"toc_1\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003emacOS 10.9 and newer, Universal Binary 2, 64-bit only\u003c\/li\u003e \u003cli\u003eWindows 7 and newer, 32 \u0026amp; 64-bit\u003c\/li\u003e \u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e \u003cli\u003eSample rates from 44.1 to 384 kHz\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451121037415,"sku":"211442","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-linone_211442_1.jpg?v=1787095916"},{"product_id":"maat-fidef-jentwo-psychoacoustic-processor-plug-in-electronic-delivery","title":"MAAT FiDef JENtwo Psychoacoustic Processor Plug-In - Electronic Delivery","description":"\u003cp\u003eFiDef by FideliQuest is a very low amplitude psychoacoustic stimulus designed specifically for audio engineers. It makes a receptive brain relax and pay closer attention to an incoming audio stimulus. In brain physiology laboratory tests using functional neuroimaging techniques, FiDef has proven to excite brain activity related to perception and attention, and to enhance the subjective processes of listening and engagement.\u003c\/p\u003e  \u003cp\u003eThe FiDef process, developed in the US by FideliQuest LLC, was first licensed by MAAT for the thEQblue. That same algorithm is now available standalone for all major plug-in formats. \u003cstrong\u003eMAAT FiDef JENtwo\u003c\/strong\u003e is a patented, 64-bit audio processor like no other. Brain science takes the lead in this subconscious signal generator that compels the listening to lean in and…engage!\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTHE QUEST\u003c\/h3\u003e  \u003cp\u003eSince Edison’s first wax cylinders, the history of audio capture and playback can be summarized as the increasingly technical pursuit of a seemingly impossible goal: lifelike replication of the actual listening experience…The advent of digital technology, while solving many of the problems inherent in analog recording and playback, brought with it other challenges. At the same time, new enabling formats such as DXD (Digital eXtreme Definition) and MQA (Master Quality Authenticated), along with consumer trends toward uncompressed HRA or High Resolution Audio releases of music catalogs have brought new levels of fidelity to the home. Yet, even the highest fidelity digital playback still exhibits a level of reserve that keeps the music at arm’s length, not always allowing it to embrace and move us. Low fidelity or hi–fi, analog or digital, FiDef makes for a deeper, more satisfying connection.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eTHE SOLUTION\u003c\/h3\u003e  \u003cp\u003eWhile listening to a variety of recordings, an audio professional thought to himself, \"Why do some recordings sound better than others?\" He recruited an audio physicist and a musical neuroscientist while analyzing arrays of audio recordings to identify elements of sound that psychoacoustically engage the listener. Isolating the mechanism allowed them to develop a unique solution that synthesizes essential content from the material itself, inserting that dynamic information at low amplitude into the content. After years of development by a team of engineers with decades of industry experience, early in 2016 FideliQuest introduced FiDef audio processing, the first and only technology that restores what all recording and playback systems take away, whether analog or digital.\u003c\/p\u003e  \u003cp\u003eThink of a common, non–harmonic, sub–audible signal all good engineers use to linearize digital audio; dither. The FiDef system also generates an anharmonic, sub–audible broadband signal. The difference is that FiDef does not modify the music itself in any way but instead is added to the music. Also unlike dither, it is correlated to the source audio. This is not noise for noise’s sake. This is a dynamic, correlated and spectrally shaped signal. The signal, based on FideliQuest research into the human auditory system, is customized to directly stimulate the brain, bypassing cognitive processing. The manifold results include less brain activity required to process incoming stimuli, with a resulting increase in perceived nuance and tactility from music, speech and effects. FiDef informs your brain of the subtle potentials within a recording. Hear more of how the song was played, not recorded.\u003c\/p\u003e  \u003ch3 id=\"toc_2\"\u003eTHE SCIENCE\u003c\/h3\u003e  \u003cp\u003eSupported by sophisticated research into how the human brain processes sound, FiDef informs the listener’s auditory system of music’s full potential. Independent research has shown that the brain response between FiDef and untreated audio is significant to 99%. Because the subtle effects of subaudible supplementation are modeled in the brain over time with familiarization, listeners unaccustomed to FiDef might not hear the difference immediately. Studies indicate that the brain uses inverse effectiveness to process FiDef’d music with less effort, in effect hearing more by working less. Hear more than you think.\u003c\/p\u003e  \u003cp\u003eGrounded firmly in experimentation and analysis, FiDef technology can increase definition, detail, intelligibility, soundstage width and depth and, most important, the emotional engagement of the listener. In short, with FiDef processing, your audio sounds better, without any change to workflows or delivery methods, even on data–compressed file types and older or low–fi playback gear.\u003c\/p\u003e  \u003ch3 id=\"toc_3\"\u003eBETTER BY DESIGN\u003c\/h3\u003e  \u003cp\u003eFiDef is a wholly new tool for your audio toolbox. FiDef’d audio doesn’t measure louder and the power spectrum is not changed. In fact, there’s only the addition of what seems to be a veil of added noise. That noise is what’s special, it’s the FiDef signal massaging your subconscious.\u003c\/p\u003e  \u003ch3 id=\"toc_4\"\u003eAPPLICATIONS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMixing: improve definition of individual mix elements\u003c\/li\u003e \u003cli\u003eMastering: bring out the best of each project\u003c\/li\u003e \u003cli\u003eBroadcast: production \u0026amp; post\u003c\/li\u003e \u003cli\u003eGame Audio: enhance envelopment\u003c\/li\u003e \u003cli\u003eAdvertisement: raise brand awareness \u0026amp; boost \"stickiness\"\u003c\/li\u003e \u003cli\u003eForensics: improve intelligibility\u003c\/li\u003e \u003cli\u003eSound Design: \"spotlight\" individual elements\u003c\/li\u003e \u003cli\u003eRestoration: broaden spatiality\u003c\/li\u003e \u003c\/ul\u003e  \u003ch3 id=\"toc_5\"\u003eSYSTEM REQUIREMENTS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003emacOS 10.9 and newer, Universal Binary 2, 64-bit only\u003c\/li\u003e \u003cli\u003eWindows 7 and newer, 32 \u0026amp; 64-bit\u003c\/li\u003e \u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e \u003cli\u003eSample rates from 44.1 to 384 kHz, FiDef processing from 44.1 to 192 kHz\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451121070183,"sku":"211436","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-fidef-jentwo_211436_1.jpg?v=1787095917"},{"product_id":"maat-2bc-multicorr-multiband-correlation-meter-plug-in-electronic-delivery","title":"MAAT 2BC multiCORR Multiband Correlation Meter Plug-In - Electronic Delivery","description":"\u003cp\u003eWhy the heck do you need a multiband correlation meter? It's simply that a regular stereo correlation meter doesn´t identify specific trouble spots. If your fat kick and bass are mono, it's mostly correlated so a stereo correlation meter would show that everything is O.K. while your strings, hi–hat, or vocals are cancelling out! \u003cstrong\u003eMAAT 2BC multiCORR\u003c\/strong\u003e combines the useful and beloved functions of MAAT's free 2BusControl monitor controller plug–in with a carefully designed, third octave multiband correlation meter. MAAT's multiband approach warns you not to overdo stereo spread with your fancy spreading tool, or when your stereo mics are delivering a signal with too much out–of–phase content at low frequencies. Either way, you'd get cancellation when your mix is summed to mono.\u003c\/p\u003e  \u003cp\u003eCorrelation measures the degree of relatedness between left and right channel. If they're alike, that's mono, and they will have perfect correlation. Stereo noise is decorrelated, with no similarity between channels. Stereo music should be more like the former, with a bit of \"stereoness\" to create a soundstage, whereas convincing, diffuse reverb should have lower inter–channel correlation. When content is present in one channel, and an inverted phase version is in the other channel, that sums to zero in mono and the audio disappears.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eUNOBTRUSIVE POWER\u003c\/h3\u003e  \u003cp\u003e2BC multiCORR's powerful features hide behind its clean and simple UI. MAAT have brought essential functionality and innovative user interface design to what used to be an unremarkable product category. With five monitoring modes, an ergonomic and deceptively simple interface, highly tuned correlation metering over thirty one bands plus stereo balance and correlation, you've got to try 2BC multiCORR for yourself.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eBETTER BY DESIGN\u003c\/h3\u003e  \u003cp\u003eMost correlation meters use a cosine scale, derived from old analog meters, while 2BC multiCORR employs a trueLinear scale. This linear scale better matches your perception. As with all of MAAT's products, 2BCmC follows MAAT's guidelines of creating meaningful tools for modern engineers.\u003c\/p\u003e  \u003ch3 id=\"toc_2\"\u003eTHE LOW DOWN\u003c\/h3\u003e  \u003cp\u003eIf your material is destined for LP distribution, keep in mind that lacquer cutting has difficulty with large amplitude, out–of–phase information at very low frequencies. 2BC multiCORR provides four bands of analysis for the critical bottom octave, six additional bands of metering covering frequencies up to 200 Hz, plus three additional band for the 200 to 400 Hz range.\u003c\/p\u003e  \u003cp\u003eOther than vinyl, why should you care about mono? Monaural playback is more prevalent than ever, with the rise of battery–powered, hand held party speakers and the seemingly ubiquitous \"smart speaker.\" Don't forget that Center Channel speaker in a surround setup…Though a product may advertise stereo playback, the simply fact is that size matters. At low frequencies, playback from any single point, diminutive device is essentially monaural. Also, small sources usually cannot reproduce the bottom octave at all and many begin to roll off below 100 Hz. So make sure to maximize the appropriate amount of LF energy for the material you're working on.\u003c\/p\u003e  \u003ch3 id=\"toc_3\"\u003eNOT JUST CORRELATION\u003c\/h3\u003e  \u003cp\u003e2BC multiCORR isn't just multiband correlation. It also includes a left\/right balance meter, a broadband left\/right correlation meter, plus five monitor controls allowing you to focus on any issues you may come across.\u003c\/p\u003e  \u003cp\u003eWith a single button, you can switch to Left–Only or Right–Only, Mono (L+R) or Difference (L-R). The fifth monitor control, FLIP, swaps the left and right channels. Sometimes you may come across a subtle issue that you think may be in one channel or the other. The Flip control, along with the Left–Only\/Right–Only buttons, quickly helps to confirm or identify any problems. Also, you may occasionally be presented with a mix that's not laid out from the audience perspective, and Flip is a quick way to rotate the soundstage around to where you're comfortable.\u003c\/p\u003e  \u003cp\u003eFor extra versatility, 2BC multiCORR includes a native version you can run anytime to meter outside of your DAW or plug–in host. To use 2BCmC standalone, you will usually need a \"virtual audio device,\" an audio driver that provides a software \"device\" the operating system can use for I\/O patching.\u003c\/p\u003e  \u003ch3 id=\"toc_4\"\u003eDON'T HIT THE CHAIR WITHOUT IT!\u003c\/h3\u003e  \u003cp\u003e2BC multiCORR packs the advanced features you need into one resizable window that's easy on the eyes. Not only does the UI \"get out of the way\" so you can be more productive, MAAT have incorporated user–centric features that speed your workflow. Easy and intuitive to use, be sure to hang it off the last slot in your Master Bus so you always know exactly what's going on with your mix!\u003c\/p\u003e    \u003ch3 id=\"toc_6\"\u003eAPPLICATIONS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eTracking and Mixing\u003c\/li\u003e \u003cli\u003eMastering and Remastering\u003c\/li\u003e \u003cli\u003eSound \u0026amp; EFX Libraries\u003c\/li\u003e \u003cli\u003eRadio \u0026amp; Television Production \u0026amp; Broadcast\u003c\/li\u003e \u003cli\u003eIdentifying Problem Elements; EFX, panning, widening or frequency ranges that may compromise playback or downstream processes\u003c\/li\u003e \u003cli\u003eVerifying: balance, panning, super stereo processing and other creative decisions\u003c\/li\u003e \u003c\/ul\u003e  \u003ch3 id=\"toc_7\"\u003eSYSTEM REQUIREMENTS\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003emacOS 10.9 and newer, Universal Binary 2, 64 bit only\u003c\/li\u003e \u003cli\u003eWindows 7 and newer, 32 \u0026amp; 64 bit\u003c\/li\u003e \u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e \u003cli\u003eSample rates from 44.1 to 384 kHz\u003c\/li\u003e \u003c\/ul\u003e","brand":"MAAT","offers":[{"title":"Default Title","offer_id":44451121135719,"sku":"211439","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maat-2bc-multicorr_211439_1.jpg?v=1787095917"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/maat.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}