Home | Products | Software | DP9 | Plug-ins

Plug-ins

MasterWorks FET-76™

The 1176LN peak limiter reborn

The MasterWorks FET-76 is a detailed model of the 1176LN Limiting Amplifier introduced by UREI in 1968 (the D/E revisions). The 1176 uses FETs (Field Effect Transistors) to control audio gain reduction, with very fast response. Popular for getting “big” sounds from bass, kick and snare, guitar, lead vocals, synths and even full mixes, the FET-76 provides the same controls and sound as the original analog hardware, including the ability to press multiple ratio buttons at one time for aggressive compression settings.



MegaSynth™

Turn your guitar into a synthesizer

MegaSynth combines polyphonic octave generation with flexible signal routing, envelopes, LFOS, a pattern generator and macros. Input your guitar — or any signal — and let the synthesis mayhem begin! MegaSynth generates octave, sub-octave and square wave tones based on the input signal. You can mix, route and process the four signals (voices) in a virtually infinite number of ways with creative processing, including a programmable pattern generator, macros that control multiple parameters at once and an envelope follower.


MX4™

Mega multi-synth with new EDM soundbank

Meet the instrument plug-in powerhouse for your Digital Performer desktop. Inspired by legendary subtractive synthesizers, MX4 combines several core synthesis techniques in a unified, hybrid synthesis engine that delivers fresh and vintage sounds alike. As you explore its many banks and hundreds of presets, you'll soon rely on MX4 as your "go-to" instrument. Fat basses, nasty leads, analog pads, vintage electronica — it's all at your fingertips and conveniently saved with your DP projects for instant recall. Tweaking sounds is fast and easy with clearly presented controls in one window — but with a depth and sophistication true synth programmers will appreciate. Create your music with pristine 32-bit sound quality, unlimited voices and unlimited polyphony (as much as your host computer allows). MX4's flexible programming and advanced modulation architecture provide the intimacy of a vintage synth, the flexibility of a modular synth, and the innovation of a virtual synth.


Signature EDM soundbank for MX4

Spark your EDM tracks with cutting-edge sounds

Developed by synth guru Erik Norlander, this exciting new soundbank spans the EDM sound spectrum, from deep house to neo disco to electro swing. You'll find presets that inspire new directions, and with a little tweaking, define your unique sound. Browse dozens of basses, leads, pads, arps, sample & hold and rhythm blocks. These presets are a showcase for MX4 as a synth programming powerhouse.



Micro G™

Polyphonic octave generator
for guitar

MicroG is a subtractive synth processor that emulates a polyphonic octave generator (POG) streamlined for guitar. Try it on guitar, vocals, instruments or any type of signal for truly unique effects. MicroG generates octave, sub-octave and square wave tones based on the input signal, combined with a gain-triggered filter sweep.



Micro B™

Polyphonic octave generator
for bass

Tuned for bass guitar, MicroB adds octave, sub-octave and square wave tones in the bass register for polyphonic synthesis with enhanced bottom end. Get your Funkadelic on, with that classic bass sound from the 70's made popular by Parliament Funkadelic. But that's just the beginning with this synth processor.



MultiFuzz™

Anderton's QuadraFuzz reborn

MultiFuzz is a spot-on reproduction of Craig Anderton’s legendary QuadraFuzz multiband distortion kit from decades past. Anderton developed a straightforward concept that produces absolutely monster guitar tones: divide the input signal into four separate frequency bands and then apply distortion independently to each band. The results range from sublime warmth to absolute filth.

MasterWorks Series

Masterfully crafted plug-in processing for your audio

Digital Performer's MasterWorks™ series premium audio processors have been engineered for the most demanding and exacting mixing situations. They feature virtually infinite internal dynamic range with both 32-bit and 64-bit processing, CPU-efficient performance, and accurate modeling of classic analog circuits. Where appropriate, multiple channel configurations are provided (mono, stereo and surround channel configurations). These plug-ins have garnered such respect in the industry, they are now available for sale as a separate package for other audio hosts. This allows you to leave them instantiated on tracks when transferring projects to other host applications.




MasterWorks Equalizer

Modeled analog console EQ

Inspired by legendary British analogue console EQs, the MasterWorks EQ gives you the look, feel, and sound of the most sought-after classic equalizers.

Graphic editing with real-time FFT

Get a bird's-eye view and hands-on editing of all seven filters. Drag control points and filter width (Q) bars to dial in settings interactively as you listen. Show and hide filter curves and other elements in the display to focus when needed. You can also view a real-time FFT display of the audio material being EQ'd to immediately see the effects of the filter on the frequency content of your audio.

Seven filters

Each of the seven EQ filters is clearly indicated by a unique color. Create highly customized filtering for even the most demanding situations. Two mid bands each include a shelf filter option, and the two outside bands provide high-pass and low-pass filtering with variable slopes from a flexible range of 6 to 36 dB per octave.


Modeled gain and Q behavior

Each filter type uniquely handles the dynamic interaction between Gain and Q. This crucial relationship has been modeled to emulate the smooth and musical character of classic analog EQ circuits, in which the gain/Q dependency was dictated by the actual circuit design and electrical components used. The resulting filter types exhibit astonishing versatility, from minor corrective tasks to highly creative applications.

Four EQ styles

Each center-frequency band provides four EQ types that represent current popular EQ styles and vintage analog EQ styles alike. These filter types faithfully model the magic of analog equalization, and they've been carefully crafted and meticulously engineered to produce musical results in a wide variety of applications.

Provides the most precision, with the least interaction between gain and Q. A smooth, yet precise modern EQ.

Produces constant Q response during boost or cut, emulating classic consoles. Good for controlling resonance on drums and percussion tracks.

This style emulates the classic Neve EQs, their modern derivatives, and later SSL G series EQs. Many current popular boutique hardware EQs exhibit this same gain/Q relationship.

A more extreme form of Type III, this filter exhibits a high degree of interaction between Q and gain in order to maintain as closely as possible an equal amount of area under the response curve as gain is adjusted. Ideal for any applications where subtle changes in the overall character of the sound are desired.






MasterWorks Leveler

Uniquely accurate model of a coveted classic compressor

The MasterWorks Leveler is an accurate model of the legendary Teletronix™ LA-2A optical leveling amplifier, known for its unique, coveted Automatic Gain Control (AGC) characteristics.

Your silver bullet: the T4 module

Conventional compression and limiting with threshold, attack, ratio, and release do not apply here: the heart of the LA-2A is the T4 opto-coupler, a photoelectric device with almost magical (signal dependent) self-adjusting behavior that makes optical compressors the tool of choice for top engineers worldwide.

Hardware modeling at its finest

During the Leveler's extensive R&D cycle, our engineers discovered response characteristics in the T4 module that are simply not accurately reflected in other LA-2A models on the market. In fact, the MasterWorks Leveler model is so accurate, you need to give the plug-in a minute to warm up and "settle in" to its fully operational state, just like the real hardware! A menu option lets you save the "warm" state, without waiting.

Apply to just about anything

Use MasterWorks Leveler to smooth out just about any audio material, from vocals to bass guitar to full-program mixes, without destroying perceived dynamics. Thanks to incredibly high CPU-efficient performance, you can apply the Leveler as needed to the elements of your mix.

Authentic controls for authentic sound

The MasterWorks Leveler controls match the front panel of the original LA-2A: Gain Reduction and Makeup Gain knobs, along with Limiter and Compressor buttons, plus an accurately modeled VU meter that adheres to IEC standards. Identical controls for identical results&hellip'

Actually, it's four models in one

The LA-2A evolved over the years, producing slightly different characteristics in each generation, so the MasterWorks Leveler also provides four different LA-2A models: Slow Vintage, Fast Vintage, Slow Modern, and Fast Modern.






MasterWorks FET-76™

The 1176LN peak limiter reborn

The MasterWorks FET-76 is a detailed model of the 1176LN Limiting Amplifier introduced by UREI in 1968 (the D/E revisions). The 1176 uses FETs (Field Effect Transistors) to control audio gain reduction, with very fast response. Popular for getting “big” sounds from bass, kick and snare, guitar, lead vocals, synths and even full mixes, the FET-76 provides the same controls and sound as the original analog hardware, including the ability to press multiple ratio buttons at one time for aggressive compression settings.






MasterWorks Compressor

Precision three-band compressor

The MasterWorks Compressor provides three bands of compression with graphically adjustable crossover frequencies, individual solo/bypass controls, precision peak/RMS metering and 64-bit internal processing. Each band provides both numeric and graphic adjustment of threshold, ratio, makeup gain, attack and release.

MasterWorks Limiter

Precision limiting with 64-bit floating point processing

The full-featured MasterWorks Limiter is designed for a broad range of stereo or surround limiting and mastering applications. View the overall density of the mix with the real-time frequency histogram. Work with 16-bit, 24-bit or even 32-bit floating point audio material. Downsample with dither and noiseshaping for optimal results.

MasterWorks Gate

Advanced stereo gating with side-chain and look-ahead

The MasterWorks Gate provides advanced gating effects with independent control of the left and right channel of stereo signals. Adjustable lookahead helps preserve attack transients, and it can be applied independently or jointly to the left/right channels. Trigger the gate with side-chain input, in stereo or separately for each channel.

MegaSynth™

Turn your guitar into a synthesizer

MegaSynth combines polyphonic octave generation with flexible signal routing, envelopes, LFOS, a pattern generator and macros. Input your guitar — or any signal — and let the synthesis mayhem begin! MegaSynth generates octave, sub-octave and square wave tones based on the input signal. You can mix, route and process the four signals (voices) in a virtually infinite number of ways with creative processing, including a programmable pattern generator, macros that control multiple parameters at once and an envelope follower.

ProVerb

Stunningly realistic acoustic spaces

ProVerb™ is a CPU-efficient convolution reverb plug-in for Digital Performer that delivers the sound of stunningly realistic acoustic spaces to any Digital Performer track or mix. From soaring cathedrals to studio plates, ProVerb provides dozens of presets that are virtually indistinguishable from the real thing. Simply put, ProVerb represents the first and last word in reverb.

Why does it sound so incredible?

Convolution "samples" (captures) the sound of a real acoustic space, such as concert hall or cathedral, to faithfully reproduce it, down to the last detail and nuance. Because it is sampled, not synthesized, convolution reverb is known for its stunning realism, and it is widely considered to be the best type of reverb.

Real acoustic spaces

Dozens of preset acoustic spaces (impulse responses) are included, from halls and stages, to plates and cathedrals. You can even choose different locations within the space. Need a cathedral? Choose the altar, front pew, middle pew, or back row pew. Many presets also offer left, center, and right, to spread elements of your mix.

Why ProVerb sounds better

ProVerb's factory presets sound more rich and acoustically accurate than other convolution reverbs because both the impulse responses (sampled spaces) and the ProVerb convolution engine processes four separate channels for stereo processing: two channels (left and right) for the left side and two channels for the right side.

eVerb

Classic synthesized reverb

eVerb provides CPU-efficient, classic synthesized reverb with dozens of presets, in-depth programming, and graphic control. Choose a preset and then adjust crucial parameters such as the early reflections, diffusion and shelf-filtering to fine-tune your sound. eVerb is highly efficient so you can use it liberally throughout your mix, wherever needed, with excellent overall performance. This is a bread-and-butter reverb you can use every day.

Hear Springamabob used together with other DP effects.

Springamabob

Vintage spring tank reverb

Made popular by that twangy, 1960's surf rock guitar sound, spring reverb adds unmistakable flavor to any instrument or track. Springamabob provides authentic reproduction of three different spring tanks: long double, long triple, and short triple.

Plate

Classic plate reverb effect

Plate reproduces the classic sound of the plate reverbs of the 1950's, 60's and 70's. Apply up to six seconds of reverb to your audio signal with detailed control over frequency distribution, filtering, mix, predelay, crossover frequencies, and diffusion.

Ensemble Chorus

A unique twist
on the chorus effect

Looking like an alien spacecraft console, Ensemble Chorus subtly transforms vocal tracks or instruments into richly chorused multiple voices spread across the stereo soundstage. An ideal companion to ProVerb, it can also be used effectively as a stand-alone processor for thickening up a group of voices, making a guitar swirl, or other chorusing effects. Results range from subtle and refined to drastic and bizarre. With this processor, let your imagination go…

Subkick

Kick drum enhancer

Shake the walls, or simply add a little oomph to your kick drum track. Subkick produces synthesized sub-base frequencies, triggered by a kick drum or similar transient-laden, rhythmic audio signal. How low can you go? That's up to you, but if there are plate glass windows around (or other breakables), use with caution! When you watch the Subkick movie, be sure to run the movie soundtrack through a beefy speakers, preferably equipped with a decent sub-woofer.

Multimode Filter

Extreme, automatable filter effects

Epic sweeps...beat-synced rhythmic burble....talkbox chatter...MultiMode Filter is all about dynamic filter effects. Draw automation curves, play notes on your MIDI keyboard, twist LFO knobs, or push envelope depth with your mod wheel to sweep, twist, contort and otherwise animate low-pass, high-pass, peak and notch filter effects.

Hear Multimode filter together with other beat-synced DP effects.

Sonic Modulator

The ultimate modulation machine

Sonic Modulator puts every form of modulation you could dream of at your fingertips, ready to apply to any audio track, live input, or virtual instrument. But first, the incoming signal is split into two separate frequency bands, so you can apply all settings independently to each band. Whoa! You get four phase-syncable LFOs and an amplitude envelope, combined with pitch, filter, amplitude and delay modulators. Of course, everything can be beat-synced. Choose from dozens of presets to begin mangling your audio right away.

Pattern Gate

Pulsating, rhythmic,
hypnotic, groovetronic…

These are just some of the words that can be used to describe the rhythm-based effects in Digital Performer's Pattern Gate plug-in. Choose a metric resolution (such as 16th notes, 8th notes, etc.), a pattern length from 1 to 16 steps, and depth (mix) for fully (or partially) muted steps. Click the sixteen LED-illuminated pads to program killer rhythmic patterns in seconds. A three-stage envelope gives you fine-tune control over the shape (attack/sustain/release) of each played step. An LFO can be applied to any of the shape parameters, such as attack, release, depth or sustain (or any combination). The result is a gradual modulation over time that makes the pattern "breathe" in time with your music.

Delay

Bounce your sound around

Digital Performer's Delay plug-in offers dozens of presets to get you started. Edit parameters with the precision of millisecond timing, just like the classic hardware delays of the past, or dial in rhythmic pulsations locked to the beat and tempo of your sequence. Add feedback for absolutely sick delay effects and for absolutely mind-blowing delay effects, use the Delay plug-in in your 5.1 surround mix.

Guitar effects plug-ins

Authentically modeled, classic guitar amps, cabs, and stomps

Digital Performer's guitar effects focus on authentically replicating actual guitar power amps, speaker cabinets, and effects pedals from the past five decades. Many of the devices modeled are no longer available and you'd be hard pressed to even find one in good enough condition to use. Digital Performer puts them all at your fingertips, in their original glory, even down to the design quirks that made them the classics that they are. Because they are so authentic, you can experiment with them in your Digital Performer desktop studio, just like an artist or recording engineer would with the originals.

MegaSynth™

Turn your guitar into a synthesizer

MegaSynth combines polyphonic octave generation with flexible signal routing, envelopes, LFOS, a pattern generator and macros. Input your guitar — or any signal — and let the synthesis mayhem begin! MegaSynth generates octave, sub-octave and square wave tones based on the input signal. You can mix, route and process the four signals (voices) in a virtually infinite number of ways with creative processing, including a programmable pattern generator, macros that control multiple parameters at once and an envelope follower.



Micro G™

Polyphonic octave generator
for guitar

MicroG is a subtractive synth processor that emulates a polyphonic octave generator (POG) streamlined for guitar. Try it on guitar, vocals, instruments or any type of signal for truly unique effects. MicroG generates octave, sub-octave and square wave tones based on the input signal, combined with a gain-triggered filter sweep.



Micro B™

Polyphonic octave generator
for bass

Tuned for bass guitar, MicroB adds octave, sub-octave and square wave tones in the bass register for polyphonic synthesis with enhanced bottom end. Get your Funkadelic on, with that classic bass sound from the 70's made popular by Parliament Funkadelic. But that's just the beginning with this synth processor.



MultiFuzz™

Anderton's QuadraFuzz reborn

MultiFuzz is a spot-on reproduction of Craig Anderton’s legendary QuadraFuzz multiband distortion kit from decades past. Anderton developed a straightforward concept that produces absolutely monster guitar tones: divide the input signal into four separate frequency bands and then apply distortion independently to each band. The results range from sublime warmth to absolute filth.

ACE30

Legendary guitar amp

The Beatles. U2's The Edge. Ritchie Blackmore. Tom Petty. These are just some of the mega-artists who have made the Vox® AC30® an iconic guitar amplifier over the past half century. DP's ACE-30 faithfully models every nuance and quirk of both the vintage-style AC30/6 and the more modern AC30 CC2X, complete with three different preamps, two impedance levels, and a separate Tremolo circuit for independent control and versatility of tone. Vintage and Modern tone stacks faithfully model, down to the smallest details, the Gibson® and Fender® tone circuits employed by Vox. The result? Guitar tones that sound like the real thing.

Examples of iconic guitar tones faithfully reproduced with ACE30…

Queen

We Will Rock You

See the signal chain »

Def Leppard

Photograph

See the signal chain »

Black Sabbath

The Mob Rules

See the signal chain »

John Barry

Dr. No

See the signal chain »

Bryan Adams

Run to You

See the signal chain »

KISS

Rock and Roll All Night

See the signal chain »

Soloist

Epic Mesa Rectifier sound

The Soloist is a model of the epic two-channel Mesa™ Dual Rectifier Solo Head™ amplifier of the 1990’s, with the silicon diode rectifiers and bold power settings enabled. The result? A model that supplies full design voltage to all components for that classic Rectifier sound with tighter attacks, added brightness, and substantially more headroom. Choose between the Red or Orange channel, and use the distinctive Mesa channel cloning feature, just like the original. Get ready to spend hours basking in the glory of classic Mesa Rectifier guitar tones.


Stone Temple Pilots

Plush

See the signal chain »

Bicio

Signature

See the signal chain »

Performed by Fabrizio "Bicio" Leo
Engineered by Danilio Madonia

Bicio

See the signal chain »

Performed by Fabrizio "Bicio" Leo




Custom '59

Three iconic guitar amps in one plug-in

Custom '59 represents three of the most famous guitar amps of all time, meticulously and faithfully modeled in one Digital Performer plug-in.

Fender® Bassman®

Originally designed for the Fender Precision Bass®, the Fender Bassman amp was quickly adopted by guitarists and eventually became perhaps the most famous and sought after guitar amp of all time. With its classic 4x10 design (four ten-inch speakers) and vintage lacquered tweed cover, the Bassman sound is a bona fide icon among guitar tones and a must-have for any tone aficionado.

Marshall® JTM45®

Introduced in the early 1960's, the Marshall JTM45 was essentially a clone of the Fender Bassman. Made popular by Eric Clapton, the so-called "Bluesbreaker" amp is named after Clapton's band at the time, in which he popularized the now signature sound of playing a Les Paul through the heavily distorted JTM45. Ever since, the JTM45 has been ensconced in the pantheon of world-famous guitar amplifiers.

Marshall® JCM800®

As guitar tones evolved during the '60s and '70s, the hunger among guitarists for more power became insatiable. By the early '80s, Marshall had developed the JCM800 to satisfy this craving, with higher power tubes and a power boost from 50 to 100 watts. The result? Perhaps the most widely recognized guitar tones of all time, made famous by bands like Anthrax, Judas Priest, Iron Maiden, and many others.

Live Room | G

Physically modeled guitar speaker cabinet

Live Room | G is a superb physical modeling speaker cabinet emulator with four mics, mixable mic positions (close, near and far) and three-band EQ per channel. Live Room | G adds unprecedented realism to guitar and bass parts — or any amped instrument.

It's a real speaker cabinet, at your fingertips

Originally designed for the Fender Precision Bass®, the Fender Bassman amp was quickly adopted by guitarists and eventually became perhaps the most famous and sought after guitar amp of all time. With its classic 4x10 design (four ten-inch speakers) and vintage lacquered tweed cover, the Bassman sound is a bona fide icon among guitar tones and a must-have for any tone aficionado.

Multiple simultaneous mics

Live Room | G faithfully reproduces the actual process of recording a guitar amplifier in a studio with multiple adjustable microphones. Live Room | G provides four mixable mic channels (two mono plus one stereo), each with their own predelay, sidechain output, 3-band EQ, solo/mute and volume. In addition, each mono mic has the positions around the cab shown below.

Live Room | B

Physically modeled bass guitar speaker cabinet

Live Room | B is all about bass guitar, with four separate mic channels (two mono and one stereo) modeled on world class microphones such as the AKG D 112, Sennheiser e602-II, Yamaha SubKick, and Shure SM7B. A matched pair of Schoeps small diaphragm condensers can be set to XY, ORTF, Blumlein, or Wide Omni positions. Modeled cabinets include the Ampeg SVT-810, a rear-ported SWT Goliath II with HF driver fully attenuated, the Ampeg SVT-15E, and the SWR Big Ben. Each mic channel has a sidechain output, which allows you to feed its signal independently to Digital Performer's full mixing environment, including any plug-in processing with automation. Live Room | B and

It's a real speaker cabinet — at your fingertips

Bass cabs are a special breed, so Live Room | B supplies classics from Ampeg and others. From the 8x10 fridge (modeled on the Ampeg SVT-810) to the 1x18 Big Bear (modeled on the rear-ported SWR Big Ben), your bass sound will boom with authentic pow.

Multiple simultaneous mics

Placing mics on a bass cabinet can be elevated to an art form. Live Room | B gives you a variety of mics and positions, which you can artfully combine and mix using four separate mic channels (two mono and one stereo), each with their own fader channel.

Live Stage

CPU efficient cabinets for live performance

Live Stage is a CPU-efficient, single-mic version of its bigger cousins, Live Room | G and B. Simply choose a cabinet and a mic, adjust damping and decay, set your levels, and rock out! Live Stage is ideal for live performance situations in which you are using your laptop and Digital Performer as a guitar effects processor.

Hear Live Stage used together with other DP effects.


Analog Chorus

Authentically analog chorusing

Modeled after the immensely popular Boss™ CE "Chorus Ensemble" series of foot pedals from the late 1970's and early ’80s, including the CE-2™ and CE-3™, Analog Chorus can be liberally applied to just about any audio material to produce incredibly lush and pleasing chorusing effects. Boss originated the chorus pedal effect with these ground-breaking products, and they are widely considered to be the ultimate analog chorus sound, especially for guitar, bass and electric keyboards. With simple controls, spot-on modeling of the original hardware pedals, and very low CPU overhead, this plug-in has quickly become a favorite among Digital Performer users.

Analog Delay

Modeled vintage "bucket-brigade" delay pedal

Inspired by classic 1980s delay pedals from DOD™ and Electro-Harmonix™, Analog Delay faithfully models their compander and bucket brigade circuits for a truly authentic sound. Crank the REPEAT knob to make it self-oscillate, just like the original, but use caution! A unique 4x switch quadruples the effect. Click the stomp switch to smoothly enable or disable the effect, while the plug-in continues to process audio.

Analog Flanger

An old-school flanger reborn

Analog Flanger models the late 1970's Electro-Harmonix™ Deluxe Electric Mistress™, an effect pedal heard on countless recordings in the decades since.

Analog Phaser

Set your phaser to Stun — or Kill

Analog Phaser is a model of the "script logo" MXR™ '74 Vintage Phase 90 phaser hand-produced from 1974 to 1977. This pedal model produces the "dirty phaser" sound popularized by Eddie Van Halen. For that unmistakable, silky-smooth analog phaser sound, Set it to Stun. For the full effect, turn it all the way up to set it to Kill.

Clear Pebble

Authentic model of an Electro-Harmonix classic pedal

Clear Pebble models the Electro-Harmonix™ Small Stone™ phaser with the Color switch set to the Off position. The color-off timbre produces the Stone's classic jazzy phase sound.

D Plus

D Plus emulates the MXR Distortion+™ overdrive pedal, one of the great classic pedals heard on countless recordings and used as a signature sound by many artists including Randy Rhoads (Ozzy Osbourne), Jerry Garcia (Grateful Dead), Bob Mould (Hüsker Dü/Sugar), Dave Murray (Iron Maiden) and many others. Just like the original, D Plus produces a surprisingly wide range of tones considering the simplicity of the circuit design, from low-gain mild distortion, to warm tube-like overdrive, to crunchy overdrive "fuzz" with lots of sustain. Suitable for many musical styles, from jazz to heavy metal.

Delta Fuzz

Delta Fuzz faithfully emulates the Electro-Harmonix® Big Muff π® pedal, first introduced in the early 1970's and made famous by artists like Carlos Santana and David Gilmour, who used it on two epic Pink Floyd albums (Animals and The Wall). While Electro-Harmonix had its ups and downs as a company over the years, demand for Big Muff's distinctive "sustained grind" sound grew and grew, pervading the recordings of many influential ’80s and ’90s bands including Nirvana, the Smashing Pumpkins, Dinosaur Jr., and Mudhoney.

Diamond Drive

Diamond Drive emulates the Voodoo Lab® Sparkle Drive™ pedal, which is itself an Ibanez TS9™ clone, but with an innovative clean/saturated crossfader. By mixing the original clean signal back in to the overdriven signal, this pedal restores the "bite" and feel masked by the saturation, resulting in a perceived "cleaner" saturated tone — the magic that makes the Sparkle Drive one of the most sought-after pedals of all time.

Dyna-Squash

The ultimate guitar sustain switch

Modeled after the MXR “script-logo” Dyna-Comp™ compressor, Dyna-Squash features an infinity-ratio limiter with 60dB maximum gain, a 0.7v absolute hard-knee limit, sub-millisecond attack dynamics, and painfully slow (>1s) release dynamics. The original Dyna-Comp “script logo” was a staple in many famous guitar rigs, including those for Pete Townshend, David Gilmour and Eddie Van Halen, among others. The Dyna-Comp was originally marketed and used as a guitar sustain pedal. You can use the DP's Dyna-Squash on guitars, too, of course, but also check it out on snare drum, vocals, or any signal that needs squashing!

Hi-Top Booster

The lead switch of all time

Hi-Top Booster models the Dallas Rangemaster™ treble booster used by Eric Clapton, Brian May and many others. Hardware clones of this classic include the Strangemaster™, Java Boost™, Brian May Treble Boost™, and several others. Use Hi-Top Booster to drive DP's Custom ’59 and Live Room | G (with the Vintage 4 x 12 cabinet enabled) to achieve that 1970s “glam” guitar tone.

Intelligent Noise Gate

Intelligent Noise Gate is a noise gate designed specifically for recording instruments that are prone to AC mains interference. Easily eliminate buzz and/or hum, with fine-tune adjustments for slight variations in power frequency.

RXT

RXT is an emulation of The Rat™ distortion pedal by Pro Co Sound™, first produced by hand in 1978. Over the next several years, the Rat quickly gained widespread notoriety via artists such as Jeff Beck, Joe Walsh, Andy Summers and many bands like Nirvana, Sonic Youth, and Radiohead. Simply put, the Rat sound is truly legendary among stomp boxes.

Springamabob

Vintage spring tank reverb

Made popular by that twangy, 1960's surf rock guitar sound, spring reverb adds unmistakable flavor to any instrument or track. Springamabob provides authentic reproduction of three different spring tanks: long double, long triple, and short triple.

Tube Wailer

Tube Wailer models the venerated Ibanez® TS-9 Tube Screamer® overdrive pedal, named for the "light" distortion it produces similar to an overdriven tube amp. The Tube Screamer circuit has served as the basis for an entire industry of distortion pedals over the last thirty years. Due to its popularity, the Tube Screamer is one of the most heavily "modded" (modified) pedals out there. Not to be outdone, Digital Performer's Tube Wailer emulation gives you your own mod: flip the "Diode" switch to simulate replacing the stock silicon clipper diodes with germanium diodes to extend bandwidth.

Über Tube

Über Tube is an emulation of the Ibanez® Super Tube™ overdrive pedal, a close but rare cousin of the Ibanez Tube Screamer™, with added mid boost control, introduced at around the same time as the original TS-9. A few years later, the Tube Screamer migrated to the Master Series where it was renamed simply Super Tube™ (STL).

Wah Pedal

No pedal board is complete without a wah-wah pedal. This plug-in simulates the wah pedal experience with authentic flair and all the controls you expect, plus customizations any tweaker will love. Use it for guitar parts, bass parts, keyboard parts and even other instruments. Play it live for a conventional sound or use automation to create more unusual effects.

Tuner

Get in tune

Digital Performer's Tuner plug-in lets you quickly tune your guitar, bass, sax, or other pitched instrument. Just load it as a plug-in, before or after any other plug-in inserts, and play each string (or any pitch on your instrument) to get it perfectly in tune. The more complex the harmonics of the input signal, the wider the LED band gets. So if your guitar strings are wearing out, the Tuner's LED meter will let you know. Other features include adjustable tuning reference and test tone generation.


Guitar plug-in demo videos

You can combine Digital Performer's guitar pedal effects, amplifier modeling and speaker cabinet simulator to dial up rich, authentic guitar tones in virtually unlimited combinations. Below are just a few examples.

Loading the player ...

2x12 Combo (Live Room | G) > Tube Wailer > Breaker 45 (Custom ‘59)

Loading the player ...

2x12 Combo (Live Room | G) > Breaker 45 (Custom ‘59) > Wah

Loading the player ...

RXT > Breaker 45 (Custom ‘59) > 1x8 Junior (Live Room | G) > Reverb

Loading the player ...

Tube Wailer > '59 Tweed (Custom ‘59) > 4x10 Combo (Live Room | G) > Reverb

Loading the player ...

D Plus > Brit Standard (Custom ‘59) > 4x12 Vintage (Live Room | G) > Reverb

Loading the player ...

Breaker 45 (Custom ‘59) > Chorus > 2x12 Combo (Live Room | G)

Loading the player ...

Breaker 45 (Custom ‘59) > Chorus > 4x10 Combo (Live Room | G) > Delay

Loading the player ...

Breaker 45 (Custom ‘59) > Chorus > 4x10 Combo (Live Room | G) > Delay

Loading the player ...

Diamond Drive > Brit Standard 45 (Custom ‘59) > 4x12 Vintage (Live Room | G)

Loading the player ...

Diamond Drive > Brit Standard 45 (Custom ‘59) > 4x12 Vintage (Live Room | G)

Loading the player ...

Breaker 45 (Custom ‘59) > RXT > 2x12 Combo (Live Room | G)

Loading the player ...

Breaker 45 (Custom ‘59) > RXT > 2x12 Combo (Live Room | G)

Loading the player ...

RXT > Breaker 45 (Custom ‘59) > 1x8 Junior (Live Room | G) > Delay > Reverb

Loading the player ...

Brit Standard (Custom ‘59) > RXT > 4x12 Modern (Live Room | G)

Loading the player ...

Brit Standard (Custom ‘59) > Diamond Drive > 4x12 Vintage (Live Room | G)


Mixing and mastering plug-ins

A complete array of tools for crafting and refining your mix

Digital Performer provides a complete array of equalization, filtering, dynamics processing, and other bread-and-butter production processors. Use them in concert with the MasterWorks series plug-ins to take your mix to world-class heights. The plug-ins describe below are just a sampling of the dozens available in Digital Performer for mixing and mastering applications.

See Dynamic Equalizer in action

Dynamic Equalizer

Precise control of frequency,
volume and dynamics

Dynamic Equalizer combines multi-band EQ with dynamics processing and volume control. Three parametric bands and two shelving bands each provide both volume control and a full-featured compressor, complete with lookahead that can be set to different values for each frequency band. Use the realtime FFT display and solo each band as you perfect the balance and dynamic response across the frequency spectrum. The result? Clarity, balance, and punch, especially for broad-band audio material, such as a drum set or full mix.

Precision Delay

Correct delay and phasing issues with one click

Precision Delay's unique, breakthrough design helps you phase-align complex signals. For example, if you record a guitar amp or an acoustic instrument from two different mics placed at different distances, the time delay between them will likely cause phase issues that make the two channels sound hollow or affected by a comb-filter-like rasp when played together. The solution? Feed both signals into Precison Delay and click the ALIGN button. Precision Delay performs complex, real-time analysis on the signals to determine phase similarities, then instantly aligns the signals with sub-sample precision. You can further manually adjust to find the "sweet spot" to your ears.

Spatial Maximizer

Mid-side processing for vinyl mastering and beyond

Spatial Maximizer takes a stereo signal and gives you independent control over center (mid) content versus the panned (side) content. Applications go way beyond prepping final mixes for vinyl mastering with side band high-pass filtering and mid band bass enhancement. Each band can be independently processed with a full-featured, five-band dynamic equalizer, allowing you to mould and shape any stereo track or mix. Enjoy dramatic levels of control over the stereo spectrum and spatial impression of a complete stereo mix, or individual tracks within a stereo mix.

De-Esser

Precise removal of unwanted frequencies

De-essing is the process of removing unwanted sibilance from a vocal track. Based on a dynamic peaking EQ for adaptive de-essing, Digital Performer's De-Esser lets you quickly zero in on the offending frequencies and surgically reduce them. Work graphically with adjustable sensitivity and look-ahead, which effectively anticipates fast sibilance. De-Esser can also be useful for selectively gating narrow-band noise and smoothing high-gain guitar tracks in the 2k to 4k band.

Virtual Instruments

Thumpin' bass lines, sparkling leads, rich pads, and slammin' drums: all included

Digital Performer's included virtual instruments model a wide range of electronic music instruments, from classic samplers, to FM synthesizers, to modeled analog pad and bass synths. Choose a preset, dial up a few tweaks, and in minutes create a full mix. Digital Performer's included instrument plug-ins rival sophisticated third-party plug-ins costing hundreds of dollars. They are designed to be easy and fun to use, yet with the level of control you'd expect from an advanced synth.


MX4™

Mega multi-synth with new EDM soundbank

Meet the instrument plug-in powerhouse for your Digital Performer desktop. Inspired by legendary subtractive synthesizers, MX4 combines several core synthesis techniques in a unified, hybrid synthesis engine that delivers fresh and vintage sounds alike. As you explore its many banks and hundreds of presets, you'll soon rely on MX4 as your "go-to" instrument. Fat basses, nasty leads, analog pads, vintage electronica — it's all at your fingertips and conveniently saved with your DP projects for instant recall. Tweaking sounds is fast and easy with clearly presented controls in one window — but with a depth and sophistication true synth programmers will appreciate. Create your music with pristine 32-bit sound quality, unlimited voices and unlimited polyphony (as much as your host computer allows). MX4's flexible programming and advanced modulation architecture provide the intimacy of a vintage synth, the flexibility of a modular synth, and the innovation of a virtual synth.



BassLine

Analog bass synthesizer

BassLine™ is an analog-style monophonic bass synth that puts out monstrous low end. BassLine's controls are dedicated to the bass, the whole bass, and nothing but the bass. The result? Instant killer bass lines have never been easier to produce. BassLine has one oscillator that blends two waveforms that are perfect for bass sounds (saw and square). It also includes one low-pass filter with cutoff and resonance, simple decay envelopes for the filter and amplifier and several additional analog synth features. BassLine's classic design will feel instantly familiar to retro analog synth enthusiasts, and for those not so familiar with its legacy, BassLine offers an easy-to-understand introduction to early synth design of a bygone (and now reborn) era.

PolySynth

Retro analog pad synth

If you never had a chance to program analog synths from the '80s, here's your opportunity. With a distinct look that harkens back to the classic Roland Juno 106, PolySynth is capable of a much wider variety of sounds than BassLine, thanks to its digital controlled oscillator (DCO), which can be adjusted with varying amounts of de-tune, triangle wave, sawtooth, rectangle (square) wave, sub-oscillator 1 & 2 and noise. The single LFO can modulate pitch (for vibrato), pulse width (for the square wave and sub-oscillators) or filter depth (for the classic "wah" effect, among others). The resonant low-pass filter is equipped with frequency and resonance controls, key tracking, velocity control and an ADSR envelope, which can also be applied as an overall envelope for each note. Chorus and distortion provide plenty of punch for the thickest of pads and searing lead lines. If you yearn for even more control and programmability, move up to Modulo.

Modulo

Two-oscillator subtractive synth

Modulo significantly raises the subtractive synthesis stakes by providing two oscillators plus noise, 58 available digital waveforms for each oscillator (including sine, square, saw, rectangle, etc.), oscillator phase and symmetry modulation, two LFOs, a resonant multimode filter, three envelopes (for the amplifier, filter and general purpose modulation) and a 5x7 modulation matrix, which supplies five sources applied to up to seven possible destinations. With built-in bank and patch management features and dozens of clearly organized presets, Modulo provides you with accessible yet limitless possibilities for analog synth sounds.

A perfect balance

Modulo provides the perfect balance of intuitive yet advanced classic subtractive synth programming combined with a flexible yet straightforward modulation matrix. You get enough control to really go deep, but everything is right there in front of you for easy and immediate results.

For an even more advanced synth…

If you find yourself hungering for even more controls (how about 3 oscillators, 2 multimode filters, 6 LFOs, 4 envelopes, external audio input, 16 modulation sources, unlimited modulation destinations, shapers, built-in effects, a pattern gate, an arpeggiator and much more), then you can always step up to MX4 (included).

Nanosampler

The easy way to play samples

As its name implies, Nanosampler™ is, quite simply, the easiest way to play samples ever devised. Load a sample and play it. Easy. Yet consider the power and convenience of being able to drag an audio file from any other DP window, or even your computer desktop, and then drop it into the Nanosampler LCD display to instantly play it from your MIDI controller.

Sample programming made easy

All of the basic sampler features you need are right at your fingertips: set a sample start/end time, set a crossfade loop, apply the multimode filter and automate cutoff frequency or other parameters, apply an envelope to the amplitude or filter and add some LFO effects.

Build and organize your library

Build your own personalized library of samples, organized as you wish on your computer desktop and accessed instantly from Nanosampler sub-menus that reflect your customized folder organization. You can even "collect" the samples being used, regardless of their source location, into your DP project folder for easy archiving and session exchange with your colleagues. This is the way sampling was meant to be. Simple. Powerful. Convenient. And CPU efficient. Open as many Nanosamplers as you have samples to play.

Model12

Twelve-part programmable drum module

Model 12™ is a twelve-part programmable drum module (sample player). Instant drums. Hundreds of drum samples. Dozens of kits. Load and go. It's as simple as that. Or build your own kits with surprisingly deep programming features, including all of the traditional features you'd expect in a drum module, such as part linking for open and closed hi hats.

Twelve independent parts

Each part has two sends, allowing you to independently apply any effects or other external processing. Apply heavy gated reverb to the snare while adding just a bit of multitap delay to the hand clap. Use the Velocity parameter on a part's tuning knob to map note-on velocity to pitch, allowing you to "bend" up or down into the root pitch of the drum, depending on how hard you strike your drum pad or MIDI controller key. This, and other similar techniques, can be applied to sample start, filter cutoff, and other parameters. Choose either a decay or gated envelope for each part independently. Each part even gets its own multimode filter for a wide range of filter effects, all applied simultaneously. Need more percussion parts? Just add another Model 12.

Proton

Two-operator FM synthesizer

Proton is an imaginative and provocative two-operator frequency modulation (FM) synthesizer that delivers classic, bright, shimmering and expressive FM synth sounds that serve as a perfect compliment to the rest of Digital Performer's instrument lineup. From sparkling bells to searing leads to classic Rhodes sounds, Proton delivers an infinite palette of classic FM sounds.

FM synthesis made easy

Proton may be the most easily programmable FM synth ever created. The pioneering Yamaha DX7 delivered a wide range of sounds using only sine waves with six operators. Proton delivers an equally broad palette of sounds with a streamlined 2-op architecture driven by its unique wavetable knob, instead of the added overhead and complexity of additional operators. A real-time display in the center of the window display the spectral content or periodic waveform being generated by the current settings. Additional controls include an FM LFO, modulation pitch envelope, FM amount envelope and overall ADSR envelope.

Navigation