The Mac OS X version can host Audio Units plug–ins, while the Windows and Linux versions feature VST support (which is forthcoming on OS X too). Harrison also market plug–ins in their own open–source LV2 format, and LADSPA (Linux Audio Developer’s Simple Plug–in Architecture) plug–ins are also supported on all platforms. The underlying audio engine has also undergone some redevelopment and, in line with users’ expectations for most modern DAW/sequencers, Mixbus 3 now exploits multi–core processing and is available in both 32–bit and 64–bit builds. The entry price of $79 thus gets you a lot of recording software for the money: the DAW/sequencer environment itself along with all the processing options offered by the virtual mixer, Harrison’s own envelope designer plug-in, a simple organ virtual instrument and a collection of 50 MIDI filter plug–ins. ![]() However, there are also some obvious extras that you will need to budget for, such as reverb and delay plug–ins, and virtual instruments. Large Format, Small PriceĪside from films and TV soundtracks, there are some seriously big–selling albums that have been recorded and/or mixed on Harrison–designed equipment (think Thriller, Back In Black, Graceland, Sweetest Taboo) so I think it is fair to say that the company know a thing or two about mixer design. The virtual mixer within Mixbus 3 attempts to replicate that design ethos in software. While you get unlimited (CPU resources permitting) stereo/mono ‘input’ channels, in many respects the design is very ‘hardware’–like, with each channel having a fixed format and built–in EQ and compression. ![]() By default, your projects also get a standard section of eight mix buses that can be used as group channels or effects sends each of these also has a fixed format and built–in processing that includes EQ, tape saturation and compression.
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