Evertone Project is running a sale on its physics-engine dynamics plugins and its vintage EQ plugins captured from real hardware.
This article walks through the latest Evertone Project sale information along with an overview of each product in the range.
We keep this article updated whenever a new sale starts.
Evertone Project Latest Sale Info
Evertone Project products are currently available in the following sale.
MORG Series Release Sale: Until September 30, 2026
- Evertone Project “MORG Vintage 81” – a 4-band vintage EQ / preamp captured from two actual units of a legendary 1970s British console
- Evertone Project “MORG Vintage 73” – a 3-band vintage EQ / preamp analyzed from two actual units, with a fixed 12k HF and a 6-position MID
- Evertone Project “MORG Vintage 66” – a 3-band vintage EQ / preamp analyzed from two actual units, with a fixed 10k HF and a 5-position MID
- Evertone Project “MORG Vintage 84” – a 3-band vintage EQ / preamp analyzed from two actual units, with a 3-position HF, MID hi-q switching and H.P./L.P. filters
- Evertone Project “MORG-81 EQ” – a hardware-captured 3-band EQ plus H.P. preamp EQ driven by an 81-style amp with 66/73-style handling
- Evertone Project “MORG-81 EQP3” – a hardware-captured passive EQ that can boost and cut the same low frequency at the same time
Sale pricing runs until September 30, 2026. Check the current price for each title on Plugin Boutique.
Evertone Project Product Lineup
Evertone Project is a Japanese audio technology company that combines analog hardware craftsmanship with digital technology. At the core of its range are the EVERTONE PLUGINS V2 dynamics processors, built on a proprietary physics engine that applies the law of F=ma (force equals mass times acceleration) to audio processing. Alongside them are the MORG Series, captured from vintage gear still in service at commercial studios, the MAGICKNOB Series with its single-knob operation, and Pro DeBleed, a drum bleed removal tool.
The catalogue splits into four main lines.
- EVERTONE PLUGINS V2: dynamics processors driven by the F=ma physics engine (Compressor v2 / Expander v2 / Metro v2)
- MORG Series: EQ / preamps captured from real vintage hardware (Vintage 81 / 73 / 66 / 84, MORG-81 EQ, MORG-81 EQP3)
- MAGICKNOB Series: one-knob expander and compressor (Magicknob / Magicknob Red)
- Pro DeBleed: a bleed removal tool built specifically for multitrack drums
EVERTONE PLUGINS V2 (Physics-Engine Dynamics)
Evertone Compressor v2
Evertone Compressor v2 is the second generation of the compressor that applies the physical law of F=ma (force equals mass times acceleration) to audio processing. It inherits the physics-based dynamics processing of V1 while rebuilding the internal DSP from the ground up, adding up to x8 oversampling and a switchable high-precision mode called HiDEF. It is designed as an option that does not compromise on sound quality not only for mixing and mastering, but also in recording sessions and on stage.
The plugin treats the audio signal as mass and applies an acceleration component to the electrical energy conversion, so the envelope follows the music without crushing transients. In V2, HiDEF mode adds a tighter low end and a clearer top end, making it usable on anything from the master bus to a vocal bus regardless of genre.
What Is New in V2
- HiDEF mode: unlocks x8 oversampling and raises the precision of the physics engine gain curve calculation. With it off you get V1-compatible, light-CPU behaviour; with it on, envelope tracking is smoother and perceived distortion is reduced. It is on by default on a new insert and switches off automatically when you open a V1 session (so existing mixes are preserved exactly). Switching is only possible while playback is stopped.
- Oversampling x4 / x8: suppresses the digital grit that appears when you drive the compressor hard. x4 is available regardless of HiDEF; x8 can only be selected with HiDEF on, and the slight latency is reported accurately to the DAW PDC.
- LIVE mode: lightens the UI rendering for stage, streaming and lower-spec machines (audio processing is identical to STUDIO).
- DELTA: a button that monitors only the WET signal.
- For V1 users: because the identifier key is the same as V1, V1 instances are automatically replaced by V2 in Pro Tools, Logic, Cubase and others. Licensing is on a separate system from V1, and you obtain a V2 serial from the upgrade site based on your V1 serial.
Physics Modes (Four Types)
Four physics modes with different acceleration characteristics are on board.
- Standard: conventional, standard compression and recovery
- F=ma Light: delicate, restrained processing from low acceleration
- F=ma Medium: a balanced, general-purpose setting using moderate acceleration
- F=ma Heavy: powerful, dynamic processing from high acceleration
Main Parameters
| Parameter | Details |
|---|---|
| THRESHOLD | -60.0 to 0.0 dB. The level at which compression starts. |
| RATIO | 1.0 to 20.0:1. Higher values mean stronger gain reduction and a longer hold at peak level. |
| ATTACK / RELEASE / HOLD | 0.1-100.0 ms / 10.0-5000.0 ms / 0.0-300.0 ms. HOLD is a peak hold function that keeps the peak for a set time; lowering it to 0 gives Hold Bypass. |
| KNEE | 0.0 to 10.0 dB. Lower is a harder knee, higher a softer knee. Double-clicking the centre of the knob brings up a pop-up, and the arc light illuminates when you enter the range where KNEE is most effective (KNEE Glow Light). |
| RANGE | 0.0 to 40.0 dB. Limits the maximum amount of compression. EXTREME mode extends this to 80 dB. |
| FORCE | 0.1 to 100.0 (up to 200 in EXTREME). The magnitude of the force in the physics calculation. 0.1-2.0 is delicate and natural, 2.0-10.0 gives active hits, and 10.0-100.0 gives strong to extremely strong hits. |
| DAMPING | 1 to 10000 (up to 20000 in EXTREME). The damping characteristic of the physical system. At 1 you get normal recovery; at 10000 the response overshoots the starting point, like throwing a super-bouncy ball at a hard floor. |
| BOX / AIR | Switches the release character. BOX is a mechanical, tight release (for a tight kick, for example), while AIR is an open, breathing release (for an open snare, for example). |
| EXTREME | Extends the working range of FORCE, DAMPING and RANGE so you can create deep compression and unusual textures beyond the normal limits. |
The recommended settings are FORCE 1.00, DAMPING 1 and HOLD 0, which give you a response based purely on the laws of physics.
AUTO Functions and BPM Sync
- AUTO THRESHOLD / INTELLIGENCE AUTO: automatically adjusts THRESHOLD so that the amount of gain change approaches the value set with RANGE (INTELLIGENCE AUTO also adjusts RATIO as needed). It then runs straight through to AUTO GAIN as one continuous process.
- AUTO GAIN: analyses input and output levels for around five seconds and adjusts WET TRIM to the optimum value.
- ASSIST (NORMAL / ADVANCED): pick from two sets of recommended values for the current BPM and ATTACK, HOLD and RELEASE snap to those values.
- NOTE GRID: tracks the DAW BPM internally even when BPM SYNC is off, and switches ATTACK, HOLD and RELEASE to step operation in note grid units. Dotted (D) and triplet (T) values are supported.
- TILT: -100% to +100%. Adjusts ATTACK, HOLD and RELEASE together as a unit against the adjacent reference note values.
- BPM TRACK: automatically recalculates ATTACK / HOLD / RELEASE to keep the same note value when the DAW tempo changes (for example, 300 ms set as an eighth note at BPM 100 automatically becomes 150 ms when the tempo changes to BPM 200). You can also put BPM into FREE mode and automate it from the DAW.
Visuals, Sidechain and Other Features
- Real-time waveform display: shows the input waveform in yellow and the processed output curve as a green line. You can switch between CLAMP and FREE, see the curve at MIX 0% and 100%, and click the waveform to pause it for a closer look.
- DEEP alert: a yellow DEEP indicator appears when THRESHOLD drops below -30 dB, and the knobs and sliders turn red below -45 dB.
- Input meter / gain meter: displays input level and gain change in dB, with switchable peak hold.
- HPF: a 0-300 Hz sidechain high-pass filter that prevents false triggering from high-energy low frequencies.
- STB (Stability Control): 0-100. Controls several parameters from one knob to tame wild behaviour with EXTREME settings.
- Safety: 0-100%. Automatically detects and suppresses the fade-out effect and clipping caused by abrupt gain changes.
- LOOKAHEAD: natural processing via a look-ahead engine. Latency is reported when it is on, and there is zero latency when it is off.
- UI modes: WELL-USED for a worn-in look, CLEAN UP to return to factory condition, and a CALM mode for long working sessions.
- INPUT / OUTPUT / MAKEUP GAIN: -20 to +20 dB each. The knob changes colour when the output clips. MIX sets the dry / wet balance.
Evertone Expander v2
Evertone Expander v2 is the second generation of the upward expander that applies the F=ma law of physics to audio processing. It lifts peak transients above the threshold even further to extend dynamic range, restoring the snap and attack that tend to be lost during recording. Like Compressor v2, the internal DSP has been completely rebuilt, with up to x8 oversampling and HiDEF mode on board.
With microphone recording, the acceleration of the signal original transients arrives attenuated or lost. A signal that has lost its acceleration cannot drive a speaker properly, which leads to a flat stereo image, a build-up of peak frequencies and masking. Evertone Expander v2 naturally restores the acceleration the transients should have had, fixing these problems at the root and giving transients the headroom they need for depth.
What Is New in V2
- HiDEF mode: unlocks x8 oversampling and raises the precision of the physics engine gain curve calculation. With it on, transient tracking is smoother. It is on by default on a new insert and switches off automatically when you open a V1 session.
- Oversampling x4 / x8: x8 can only be selected with HiDEF on.
- LIVE mode: lightens UI rendering (audio processing is identical to STUDIO).
- DELTA: monitors only the WET signal.
- RANGE LINK: links an increase in RANGE to a decrease in OUTPUT.
- For V1 users: V1 instances are automatically replaced by V2, and HiDEF switches off automatically to preserve existing mixes. A dedicated V2 serial is required.
Physics Modes (Four Types)
As with Evertone Compressor v2, you can choose between Standard, F=ma Light, F=ma Medium and F=ma Heavy to suit the job.
Main Parameters
| Parameter | Details |
|---|---|
| THRESHOLD | -60.0 to 0.0 dB. The level at which expansion starts. |
| RATIO | 1.0 to 20.0:1. Higher values give stronger expansion and a longer hold at peaks. |
| ATTACK / RELEASE / HOLD | 0.1-100.0 ms / 10.0-5000.0 ms / 0.0-300.0 ms (HOLD at 0 gives Hold Bypass). |
| KNEE | 0.0 to 10.0 dB. Counter-clockwise makes the rise to the peak faster, clockwise makes it slower. KNEE Glow Light is included. |
| RANGE | 0.0 to 20.0 dB. Limits the maximum amount of expansion. |
| FORCE | 0.1 to 20.0. 0.1-2.0 is delicate and natural, 2.0-10.0 gives active expansion, and 10.0-20.0 gives large dynamic changes. |
| DAMPING | 1 to 1000. At 1 you get normal damping; at 1000 you get an instantaneous cutoff. |
The recommended settings are FORCE 1.00, DAMPING 1 and HOLD 0.
Other Features
- AUTO functions: AUTO THRESHOLD / INTELLIGENCE AUTO / AUTO GAIN (optimises WET TRIM in about five seconds).
- BPM sync: ASSIST (NORMAL / ADVANCED), NOTE GRID (dotted and triplet values supported), TILT (-100% to +100%) and BPM TRACK (follows tempo changes automatically while keeping the note value).
- Visuals: real-time waveform (input in yellow, output curve in green), CLAMP / FREE, the DEEP alert (yellow below -30 dB, red below -45 dB, because going too deep on an upward expander creates a fade-in effect), GLOW, and mouse-wheel control over the waveform window to move the green line on the Y axis (double-click returns it to its initial position).
- Sidechain and stabilisation: HPF (0-300 Hz), STB (0-100) and Safety (0-100%).
- LOOKAHEAD: latency is reported when on, zero latency when off.
- UI modes: WELL-USED / CLEAN UP, CALM, and LIVE / STUDIO.
- INPUT / OUTPUT / MAKEUP GAIN: -20 to +20 dB each, plus MIX 0-100% and BYPASS.
Metro v2
Metro v2 is a utility plugin that calculates optimum parameters for expanders and compressors from BPM-based note value maths. By deriving note lengths from the tempo of the track and feeding them into your parameters, it turns timing adjustments that usually rely on instinct into clear numbers, letting you optimise the dynamics of the whole mix note by note. V2 adds tap tempo and a help mode.
What Is New in V2
- Tap Tempo: switch the TAP button on and click the pendulum area to enter a BPM (calculated from the average interval from the second tap onwards, BPM 30-990, automatically resetting after three seconds of inactivity; switching TAP on turns DAW SYNC off automatically).
- Help Mode (?): turn it on and hover over a control for two seconds to see an explanatory tooltip.
- PULSE FLOW SCOPE: a new display mode that can replace the pendulum meter. Over one cycle of the selected note value (1/1 to 1/512), a green beam draws one cycle of a sine wave from left to right across an LCD-style screen.
- A major visual upgrade to the CLASSIC theme: gunmetal bezels, 3D polished chrome pivots, glass panel cells and hairline finishes, all inspired by luxury watches.
- Full compatibility with V1 sessions: projects saved in V1 open as they are (the V2 installer uninstalls V1 automatically).
- EVERTONE V2 Bundle support: shares a single licence (the EVT2 serial) with EXPANDER V2 and COMPRESSOR V2.
Main Features
- BPM entry / SYNC: enter a BPM directly (30-990) or sync automatically to the host session BPM.
- Visual Note Meter: a pendulum-style meter swings left and right, with full-width swing representing a quarter note and dot markers showing the positions of eighth, sixteenth and thirty-second notes. Because you can see the note value, it also helps when communicating with clients.
- ASSIST: displays recommended values derived from the BPM for three processor types: UPWARD EXPANDER, COMPRESSOR and GLUE COMPRESSOR. There are two modes, NORMAL for processors without DRY/WET and ADVANCED for parallel processing.
- COPY: click a value in the table and it is copied automatically to the OS clipboard, ready to paste straight into the parameter field of the target plugin.
- Pulse / Speed: switch the pulse signal playback on and off and set the pendulum and pulse speed to x0.5, x1 or x2.
- Panic Mode: drives the pendulum and pulse at the timing of the STANDARD column in the table. A bonus mode that lets you experience playback timing at short note values and the limits of human perception.
- UI themes: CLASSIC in blue-grey with gold accents, and a jewel-like LUXURY theme in pink, gold and cyan. Your choice is saved with the session.
Evertone Bundle v2
Evertone Bundle v2, sold at Plugin Boutique, contains Evertone Expander v2, Evertone Compressor v2 and Metro v2, plus MORG Vintage 81 and MORG-81 EQP3 from the MORG Series. An upgrade version for V1 owners (Evertone Bundle v2 Upgrade from v1) is also available.
MORG Series (Hardware-Captured EQ / Preamps)
MORG Vintage 81 / 73 / 66 / 84
The MORG Vintage Series are vintage EQ / preamp plugins captured directly from legendary 1970s British console modules, taken from real units still in daily service at commercial studios. MORG (Yoshinori Kadogaki) measured only the individual units he had hand-picked over more than 25 years, leaving their characteristics uncorrected and preserving the differences between individual units. The goal is the same experience as inserting the hardware itself.
Fully discrete vintage gear sounds different from unit to unit even within the same model number. The everyday studio conversation of “they are both good, but I prefer this module” is something that only happens with gear like this. Years of maintenance and the accumulated judgement of many engineers and artists who found a particular unit wonderful is what makes it an individual, and the MORG Vintage Series turns that individual unit into a plugin as it is.
Points Shared Across the Series
- Switching between two real units (#1 / #2): two real units of the same model were each measured, and both EQ and preamp are stored as separate tables per unit. It is not about which is better, so you can choose on preference (on Vintage 73, #1 is the default because that is the owner preference).
- Characteristics are not smoothed out: if there was an unacceptable difference, it was resolved by servicing the hardware before capture, and the captured data itself is left untouched. The 1073 and 1066 HF bands have no OFF position because the real units have no disconnect switch.
- Working gear measured where it works: units actually used on many releases at commercial recording studios were measured in place, in a 60 Hz mains environment in western Japan.
- Accuracy: steps where humans tend to make mistakes, such as input and output level management or mixing up settings, were automated with scripts and AI, and each model was captured with verification as it went. The difference between plugin and hardware is within the same range as the difference between two real units of the same model (null depth against the hardware recordings of -28.6 to -33.5 dB across all 16 models). The median difference from the hardware on the EQ is 0.04 dB, less than half of the 0.1 dB generally considered the limit of audibility.
- Sweet spots as presets: settings that suit various parts are included as ready-to-use factory presets. User presets can also be saved.
Shared Controls
All four models are built to the same design, and the only difference is the EQ configuration.
| Control | Details |
|---|---|
| INPUT / OUTPUT | -24 to +24 dB each. The input trim sets the signal level going into the EQ and preamp, while the output trim adjusts only the final level without changing the amount of distortion. |
| EQ bands (dual concentric knobs) | The outer ring is frequency, the inner knob is gain. Setting the outer ring to OFF removes that band from the circuit. Unity gain is at the 3 o clock position (marked with a 0). |
| Shelf / Peak and HiQ | Vintage 81 only. LF and HF can be switched between shelf and peak, and the two mid bands have HiQ (raising Q to narrow the bandwidth). |
| H.P. / L.P. | High-pass and low-pass filters. OFF is at 12 o clock and the frequency rises clockwise. The 81 and 84 have both; the 73 and 66 have H.P. only. |
| PH / EQ | Phase invert and EQ section on/off. The preamp is still in circuit when the EQ is off, so you can compare the effect of the EQ alone. |
| QT (Quality) | Preamp calculation precision, either Full or Lite. Lite is a lighter simplified version for when you need more track count. |
| #1 / #2 | Switches between the two real units. Because both EQ and preamp were measured separately for each unit, the tonal character changes. |
| DRIVE | Plus or minus 12 dB. Changes the amount going into the preamp and cancels it afterwards, so the level stays essentially the same and only the amount of distortion moves (level variation stays within 0.2 dB across the full plus or minus 12 dB range, and within 0.8 dB even with SAT). |
| PAIR | A stereo pair that assigns #1 to L and #2 to R. This is the same state as patching two real units in stereo (the EQ is shared across both channels, and only the preamp changes). |
| SAT | A saturation model that switches to a separate capture made with the hardware driven hard into distortion. Combine it with DRIVE to set the depth of the distortion. |
| Presets | Step through with the arrows and open the menu with the list icon. There are two types, factory and user. |
Differences Between the Models
All frequencies follow the panel markings of the real hardware, and the order of the mid positions matches the hardware as well.
| Item | Vintage 81 | Vintage 73 | Vintage 66 | Vintage 84 |
|---|---|---|---|---|
| Model | NEVE 1081 | NEVE 1073 | NEVE 1066 | NEVE 1084 |
| EQ bands | 4 | 3 | 3 | 3 |
| HF | 3.3k / 4.7k / 6.8k / 10k / 15k (shelf or peak) | Fixed 12k (shelf, no OFF) | Fixed 10k (shelf, no OFF) | 16k / 12k / 10k (shelf) |
| HI-MID | Ten positions from 1.5k to 8.2k (HiQ switchable) | – | – | – |
| MID | – | 0.36k / 0.7k / 1.6k / 3.2k / 4.8k / 7.2k | 7.0k / 3.8k / 2.4k / 1.2k / 0.7k (highest first, as on the hardware) | 0.35k / 0.7k / 1.6k / 3.2k / 4.8k / 7.2k (hi-q switchable) |
| LO-MID | Ten positions from 220 to 1.2k (HiQ switchable) | – | – | – |
| LF | 33 / 56 / 100 / 180 / 330 (shelf or peak) | 35 / 60 / 110 / 220 (shelf) | 35 / 60 / 100 / 220 (shelf) | 35 / 60 / 110 / 220 (shelf) |
| H.P. | 27 / 47 / 82 / 150 / 270 | 50 / 80 / 160 / 300 | 45 / 70 / 160 / 360 | 45 / 70 / 160 / 360 |
| L.P. | 18k / 12k / 8.2k / 5.6k / 3.9k | None | None | 18k / 14k / 10k / 8k / 6k |
| EQ measurements | 420 settings | 98 settings | 90 settings | 154 settings |
| Difference from hardware (median) | 0.05 dB | 0.04 dB | 0.04 dB | 0.03 dB |
Vintage 84 adds HF frequency selection, MID hi-q and an L.P. to the same three-band layout as the 1073, and the real unit is a 31102 converted to 1084 specification. The HF bands on Vintage 73 and 66 have no OFF position, so when you want them flat you return the gain to 0 (the 3 o clock position).
Note that the preamp is still in circuit when the EQ button is off, so if you want a complete bypass you switch the plugin off in the host. The preamp runs internally at 48 kHz, so at other sample rates the conversion adds a little latency (automatically compensated by the host).
MORG-81 EQ
MORG-81 EQ is a three-band EQ with H.P. that is driven by an 81-style amp while keeping the handling and frequency layout of the 66 and 73. It is one model in the MORG / Ambience Series, a sister line of hardware captures developed jointly by MORG and Ambience Sound Design, and two real units were measured so you can switch between #1 and #2. Another feature is a preamp that can be driven into deeper distortion than the MORG Vintage Series.
The hardware is a single two-channel unit, with frequency and gain on separate knobs laid out side by side exactly as on the real thing. The EQ covers every setting on the hardware with 45 settings per unit across two units.
EQ Configuration
- HF: a fixed 10 kHz shelf. Gain only, with no OFF position (because the hardware has no disconnect switch).
- MID: a bell with OFF / 700 / 1.2k / 1.6k / 2.4k / 3.2k, using a pair of frequency and gain knobs.
- LF: a shelf with OFF / 35 / 60 / 110 / 220 Hz.
- H.P.: OFF / 27 / 47 / 82 / 150 / 300 Hz.
The operational controls, including INPUT / OUTPUT (plus or minus 24 dB), PH, EQ in/out, QT (Full / Lite), #1 / #2, DRIVE (plus or minus 12 dB), PAIR and SAT, are shared with the MORG Vintage Series. Its licence is separate from MORG-81 EQP3 and it is not covered by the EVT2 bundle, so it must be purchased on its own.
MORG-81 EQP3
MORG-81 EQP3 is a passive EQ that boosts and cuts simultaneously. The key point is that you can lift and dip the same low frequency at the same time, and raising both creates a distinctive low end where the boost and the cut overlap. That is the signature way to use this unit. Because it cannot be reproduced by measuring each side separately and adding them together, this is the one model where the combined state was measured directly (5,397 points per unit across two units, with a median difference from the hardware of 0.052 and 0.047 dB).
The upper row sets the amount of effect, and the lower row sets frequency and bandwidth.
EQ Configuration
- LOW BOOST: 0-10, shelf. The frequency is chosen with LOW FREQUENCY.
- ATTEN (LOW CUT): 0-10, bell. It works at the same frequency as LOW BOOST.
- LOW FREQUENCY: 20 / 30 / 60 / 100 / 200 Hz. The frequency shared by the two controls above.
- HIGH BOOST: 0-10, bell. The frequency is set with HIGH FREQUENCY (3 / 4 / 5 / 8 / 10 / 12 / 16 kHz) and the width with BANDWIDTH (SHARP 0-10 BROAD).
- ATTEN (HIGH CUT): 0-10, shelf. It has its own separate frequency selector, ATTEN SEL (3 / 4 / 6 / 8 / 10 kHz), independent of HIGH BOOST.
Because it is a passive EQ, some tonal change from passing through the network remains even with every control at 0. That is not a flaw but the essence of this design, and that state was measured as one of the settings too. When SAT is engaged, the level sent to the model is lowered internally by 12 dB so that the usable range of DRIVE stays comfortable. Its licence is separate from MORG-81 EQ, but it can be activated with the EVT2 bundle (Evertone Bundle v2) serial.
MAGICKNOB Series (One Knob)
Magicknob
Magicknob is a simple plugin that condenses the physics engine of Evertone Expander into a single knob. Complex processing is handled intuitively from one control, making it ideal for fast sound design.
How the Knob Works
- 0-50% (blue arc light): transient energy enhancement processing
- 50-100% (green arc light): powerful energy addition applied to the whole signal
Magicknob Red
Magicknob Red is the compressor version, condensing the physics engine of Evertone Compressor into a single knob. Like Magicknob it is handled intuitively from one control, so it works well for fast sound design.
How the Knob Works
- 0-50% (red arc light): transient rebound energy processing
- 50-100% (light orange arc light): powerful compression applied to the whole signal
A Magicknob Bundle pairing Magicknob and Magicknob Red is also available.
Pro DeBleed (Drum Bleed Removal)
Pro DeBleed
Pro DeBleed is a bleed removal tool built specifically for multitrack drums. Instead of chopping off the spill that leaks into each microphone by level, the way a conventional gate does, it uses source separation based on NMF (non-negative matrix factorisation) to identify the bleed by spectrum, that is by frequency content, and suppress it. That means the subtle nuances of the performance, such as ghost notes and dynamics, stay intact while only the unwanted bleed is removed.
Its biggest strength is that it reaches into territory a gate simply cannot. Hi-hat and cymbal spill that has leaked into the snare microphone is suppressed without damaging the snare itself. Because you can monitor in real time and dial things in by hand, you can work anywhere from aggressive processing that removes everything at some cost to the sound, through to high-quality separation that stays natural and preserves tone, and find the balance that suits the job.
Workflow (Five Steps)
- Load: drag and drop your tracks.
- Set instrument: specify the instrument for each track, such as snare, kick or overheads.
- Analyze: analyse the whole group.
- Dial in: refine with the knobs and the EQ.
- Export: write out the cleaned-up tracks.
If you append a few isolated one-shots of the drum on its own to the end of each microphone file, Pro DeBleed detects that section automatically and builds a dictionary specific to your drum kit, pushing separation accuracy even further. Even without one-shots it falls back automatically and separation still works.
Main Controls
- FOCUS / FINE TUNE: two large red and blue knobs that intuitively control the strength and character of the separation (a design that takes its cue from the thinking behind DRUMATOM 2).
- ATTACK / TILT / SMOOTH: three mini knobs that fine-tune transient retention, frequency balance and the smoothness of the mask.
- Eight-band interactive EQ: visualise and adjust the amount of suppression per band, with a SUPPRESSION meter that makes it obvious where processing is happening.
- Waveform Bleed View: overlays the removed bleed on the waveform in cyan.
- A/B comparison and presets: compare, save and recall settings.
Stereo pairs are detected automatically, and sample rate and bit depth are kept native throughout, with no resampling and no loss of quality.
That is the latest sale information for Evertone Project.
Evertone Project Product List