MixBox packs 70 award-winning mixing processors from T-RackS, AmpliTube and SampleTank into a convenient 500-series style lunchbox plug-in. Create, compare and save your own custom channel strips, or choose from over 200 presets to give your creativity a kickstart. Whether in your favorite DAW or stand-alone, effortlessly create custom processor chains for every situation and supercharge your mixing.
American Vintage T
Based on Fender® Twin Reverb® Silverface that went into production in 1968. It included a spring reverb and was equipped with 2x12” J.B. Lansing® speakers.
British Tube Lead
Based on Marshall® JCM900TM.
This model is capable of great rock tone, leads, and heavy crunch. While grittier and a little more aggressive, it still has the classic tone that has made this family of amps a household name in Rock Guitar.
This processor emulates with great accuracy the frequency response of some of the best guitar cabinets. This effect is extremely useful when you need to add a ‘mid-range’ character to any kind of sound, to give a more realistic character without using an equalizer.
This processor emulates with great accuracy the some of the best guitar amplifiers and cabinets with lower CPU usage. This effect is extremely useful when you need to add overdrive, tonal color or even just an additional midrange character to any kind of sound for a more realistic quality without using a traditional equalizer.
Jazz Amp 120
Based on Roland® JC-120TM.
It may have Jazz in its name, but this versatile clean sound can be heard in many genres. Many of the top metal players keep this not-so-secret weapon in the studio for great clean sounds.
Modern Tube Lead
Based on Mesa/Boogie® Dual Rectifier®.
This amp is a model of one of the leaders in hard, driven rock tones made today. Capable of searing leads and heavy crunch, this amp has been rectified to create a modern rock tone that is hard to beat.
This analog modeled processor emulates the first stage of some of the most acclaimed classic tube guitar amplifiers.
Based on the Ampeg® SVT-CLASSIC® Model.
This is the authentic and classic Ampeg tube sound. This all-tube bass head delivers a warm, harmonically rich and punchy sound that is a trademark for the rock bass sound, both live and in the studio. The SVT-Classic is the amp that created the rock bass sound.
A classic tube tone control that recreates the tone shaping stage found on the best tube amplifiers. The Tone Control effect can deliver incredible presence and warmth to the sound.
The Channel Strip effect is a full recording channel equalizer and compressor with clean, uncolored processing along with additional “Sub” and “Air” program EQ bands that have a vintage tube flavor.
The EQ 81 delivers that legendary British warmth and tone with a few twists.T he key here is in the versatility of the EQ section sporting four independent bands rounded out by high and low pass filters. This effect is particularly useful when a more precise intervention on a track is needed, still maintaining tone and organic, analog warmth in the signal path.
This effect features a semi-parametric EQ and an easy-to-use compressor. Both units are very high quality, giving a very musical sounding equalizer and an “analog-style” compression.
A spot-on emulation of one of the classic tape echo units of all time. To go along with its cool vintage sound, we added some great modern features, like stereo operation, separate delay times on L&R, and syncing to host tempo.
This model alters the sound of the input signal by changing the sample-rate, cutoff frequency and by distorting it. This effect can produce very aggressive distorted sounds, more pronounced than overdrive stompboxes. The Low pass filter is very creative when combined to high distortion levels.
Lo-Fi degrades the audio quality to simulate a “Lo-Fidelity” sound. In MixBox, this effect is designed to be used as a speaker and cabinet simulator, too.
This entirely analog modeled Overdrive recreates the tone of one of the best overdrive stompboxes.
Based on Ibanez® Tube Screamer.
This is a model of a classic overdrive/distortion pedal which has become the go-to overdrive pedal for some of the most influential guitar players of all time. Its basic controls make it easy to dial in the exact sound you want.
The Black 76 Limiting Amplifier is modeled after what is probably the most used, most known, most wanted, and most universally recognized compressor / limiter in the audio industry. There are probably no professionally created records without tracks using this unit. This FET-based compressor is a true legend and a piece of history with a unique sound largely thanks to its input transformer and class A output stage.
Based on the mix bus VCA-type compressor of a worldwide known and acknowledged British large format mixing console from the ’80s. It was used on practically every hit record and major production from the ’80s to present days, so much that its sound has almost become a trademark. This compressor was so widely used that it later became a stand-alone rackmount unit so that it could be used separately from the large format console.
This is an ultra-smooth compressor, modeled after a classic tube compressor. It can be very soft and gentle on all types of material.
De-essing action and excessive sibilance or high frequency control can be adjusted with this De-esser module. The included controls adjust the de-essing action to suit any situation.
This is a multi-band analog modeled limiter. Inside there are three separate hard knee compressors for the low, mid and high bands. It can deliver a very powerful compression to drums kits and loops. The controls of the three compressors are linked on the interface for simplicity. Compared against the Compressor, the Limiter can deliver a far more aggressive compression effect.
Based on the FairchildTM 670.
Many top producers and engineers refer to the FairchildTM 670 as the “Holy Grail of compressors” because it imparts a sound that adds something special to any kind of track, and our emulation captures that same sonic magic.
The White 2A Leveling Amplifier is based on a legendary vintage unit that is entirely tube-based. It’s a totally different device in terms of construction where all the compression magic happens inside an optically coupled element formed by a fluorescent panel and some photocells: the famed T4A element. There is no electronic circuitry involved with the compression itself. It’s just a tube amp with photo-resistors, lighted by a fluorescent panel driven by the output signal. At the time of this invention, there were not many ways of making an audio compressor: only variable-mu and optical. Optical was the simplest one, and if proper elements for both the light emitting panel and the photocells were matched, magic happened.
Modeled after one of the most widely used and acknowledged pieces of hardware in the music history. Countless hit records around the world have been produced on this large format British mixing console since the ’80s making it a true staple of the music production technology for its ultimate flexibility and trademark sound.
Originally designed as a variation to the standard three and four band console EQs, it uses an all-discrete signal path and proportional Q design with a ten-band graphic approach instead of the semi-parametric three and four band design of other modules.
An equalizer with separate bands where you can dial in not only the frequency to boost or cut but also the width of the bell shape.
Based on the Pultec® EQP-1A.
In virtually every major studio, you’re likely to see a distinctive blue unit with big black knobs — the Pultec® EQP-1A program EQ. The Vintage Tube Program Equalizer is based on it. Our painstakingly-produced model gives all the functionality of the original unit and uncannily accurate sonic reproduction.
In this filter effect, the Cutoff frequency can automatically sweep by the effect of the envelope of the audio signal passing through it.
This effect is a variable all-pass filter in the style of classic phase shifter stomp boxes and rack units.
This effect models the sound of the famous Curtis® CEM3320 filter chip (found in the Prophet-5 and Oberheim OB-Xa synthesizers).
This effect models the sound of the legendary Moog® transistor ladder filter (found in the Minimoog and Modular Moog).
This effect models the sound of the iconic Oberheim® state variable filter (found in the Oberheim SEM).
This effect models the sound of the famous Roland® IR3109 filter chip (found in the Juno-60 and Jupiter-8).
In this effect, the Cutoff frequency can automatically sweep by the effect of a built-in LFO. The LFO can sync with the song’s BPM.
This is a particular kind of filter where instead of selecting the type of filter (LPF, BPF or HPF) you can use them all together with independent levels.
This effect is designed to produce a tonal character totally different from the original when applied to a complex sound by using the carrier frequency to modulate the volume of the sound. You can click the From MIDI button to set the effect’s carrier frequency to be controlled via incoming MIDI notes.
Based on Boss® CE-1.
A model of a classic bucked-brigade analog Chorus/Vibrato unit. It provides both analog Chorus and analog Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the modulation will be faster and more noticeable.
Based on Electro-Harmonix® Electric Mistress.
This stomp box is a model of a vintage flanger/filter matrix used by many well-known guitarists to achieve classic sounds. While it has amazing warmth, it is also capable of very versatile chorus and ring modulation type sounds.
Based on the Roland® Juno and string synth (Synth I, Synth II) and the Solina® / ARP® String Ensemble (String) ensemble chorus effects.
This module contains three distinct chorus effects that recreate the ensemble effect from the most iconic 70s string machines used for everything from pop to disco to Berlin School electronic music along with the analog chorus of one of the most famous synths of the 80s. A subtle overdrive control simulates the saturation of the original bucket brigade circuit, and a powerful pre-emphasis EQ control adds presence to the sound which can otherwise get reduced with deep chorus effects such as these. You can even de-select the chorus modes to just use the overdrive and pre-emphasis alone if you prefer.
This particular kind of flanger has its feedback parameter, which is internally controlled by the envelope of the audio signal.
The Flanger creates a sharper sound by adding a metallic resonance to the sound (like a jet airplane taking off and landing).
This effect is designed to produce a tonal character totally different from the original when applied to a complex sound by using the carrier frequency to modulate the pitch of the sound. It can replicate the sounds of some synthesis systems like FM or ring modulation. You can click the From MIDI button to set the effect’s carrier frequency to be controlled via incoming MIDI notes.
This is a special type of chorus effect with a random pitching character. It is designed to be less regular and noticeable than a classic chorus.
This entirely analog modeled Phaser recreates the sound of one of the best known classics of the past.
Thanks to IK’s VRM technology, the Rotary Speaker model uses samples from a real unit to create the authentic vibe and musicality of a classic Leslie® 147 for a 3D-sounding, spinning modulation effect unlike any other.
Based on Electro-Harmonix® Small Stone.
This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to outlandish swirling effects. You may wonder why it is called “small” when you hear it.
Based on UnivoxTM Uni-VibeTM.
This was a chorus/rotating-speaker simulator that was introduced in 1969 and used predominantly in live performances. This created a swirling effect quite similar to the Leslie® speaker cabinet but with the addition of speed control. This effect was employed on tracks such as “Hey Baby (The Land of the New Rising Sun),” “Earth Blues,” and “Machine Gun.” A vintage Uni-VibeTM is in such high demand it sells for over a thousand dollars, if you can even find one.
This effect produces a very short reverb, very useful for emulating the typical ambience of small closed spaces, like studio rooms or little concert suites.
This is a convolution reverb that processes the incoming signal with real sampled spaces providing the ultra- realistic sound of the actual rooms recorded.
This classic digital reverberation effect simulates the sound of rooms and other spaces.
This reverb sounds very close to a real mechanical spring unit, featuring their signature warmth with that typical metallic and resonant vibe. This reverb is mono.
This effect adjusts the stereo image from 0 (mono) to 200% ultra-wide stereo. Note that values over 100% start to lose mono compatibility due to the phase manipulation used, so be sure to check your sound in mono if that is a concern.
This effect adds disk noises to simulate the sound of music played by vinyl records on old record players.
Saturator X delivers that classic analog saturation and takes you on a trip back in time to the birth of “modern” recording before computers and opens your recordings to the mysterious, elusive and warm world of analog saturation.