1 June , 2026 | Mixing and mastering
Undertone Audio MPEQ-1 Review: A Boutique Analog EQ for Modern Mixing and Mastering Most analog-modeled EQ plugins promise the same things—musical curves, analog warmth, and hardware character. The real difference isn’t how they’re marketed. It’s whether they influence engineering decisions in ways that conventional digital EQs don’t. The Undertone Audio MPEQ-1 plugin stands apart because […]
Read more >31 May , 2026 | Mixing and mastering
TONEX ONE+ Review: Does Capture-Based Guitar Modeling Hold Up in Professional Production? Most TONEX ONE+ reviews stop at tone. They compare amp captures, browse presets, and debate how closely the platform reproduces real hardware. That discussion is useful, but it ignores the stage where guitar sounds are actually judged: the mix. A guitar tone can […]
Read more >30 May , 2026 | Mixing and mastering
SoundMorph PHUZE Review: Can It Solve the Modern Cinematic Sound Design Bottleneck? High-quality cinematic sound libraries are no longer difficult to find. The real challenge is creating sounds that do not immediately reveal their source. Trailer composers, game audio designers, and post-production teams often work from the same commercial libraries, which has made sonic repetition […]
Read more >29 May , 2026 | Mixing and mastering
Softube Bus Processor 670: A Modern Variable-Mu Compressor for Mix Bus and Mastering Softube Bus Processor 670 enters one of the most competitive segments of the audio production market. Engineers already have access to numerous Fairchild-inspired plug-ins, ranging from vintage-focused emulations to mastering-oriented variable-mu processors. Recreating the sound of a classic compressor is no longer […]
Read more >28 May , 2026 | Mixing and mastering
Arturia Memory V Review: The Reality of Mixing a Software Memorymoog Published May 2026 • Updated for current Arturia Memory V release workflow Arturia Memory V arrives at a time when software synth design is moving in two opposite directions at once. Producers want larger analog-style textures, more harmonic movement and less sterile digital behavior, […]
Read more >26 May , 2026 | Mixing and mastering
MPEG-H vs Dolby Atmos: Why Pro Tools Integration Changes the Future of Immersive Audio The arrival of MPEG-H Audio inside Pro Tools is more significant than another immersive format update buried in a broadcast workflow announcement. It reflects a larger transition already reshaping professional audio production: immersive delivery is moving away from fixed speaker layouts […]
Read more >24 May , 2026 | Mixing and mastering
Heavyocity Oblivion Drums Review: Cinematic Percussion Built for Modern Hybrid Production Published: May 2026 • Updated: May 2026 Heavyocity Oblivion Drums arrives at a point where cinematic percussion libraries are no longer competing on size alone. Most modern trailer-oriented Kontakt instruments already deliver oversized hits, layered impacts, and heavily processed low-end. The real differentiator now […]
Read more >21 May , 2026 | Mixing and mastering
Acustica Audio Aero 2 Review: Dynamic Amp Modeling vs Neural DSP, ToneX and NAM The modern guitar amp simulator market no longer has a tone problem. Most modern guitar plugins can already approximate the frequency balance, saturation profile and cabinet character of real amplifiers closely enough for commercial production. The remaining weakness is behavioral realism […]
Read more >19 May , 2026 | Mixing and mastering
Oeksound Soothe3 Review: Better Than Soothe2 for Mixing and Mastering? Last updated: May 2026 Oeksound’s Soothe3 enters a market that no longer treats spectral suppression as a niche corrective process. What started as a surgical solution for harsh vocals and unstable upper mids has become embedded in mainstream mixing workflows across pop, EDM, metal, cinematic […]
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