WiN: Team R2R | 16.9 MB | MAC: Team R2R | 18.1 MB

fiedler audio has a reputation for setting new standards. Two years aftera P V o h b z developing the revolu3 w ~ * d ; etionary reverberation a8 6 p I %lgorithm at the heart of Brainworx’s bx_rooms, they have once again redefined the world of acoustical enhancement with stage – a plugin that uses trailblazing stereo-spatiai K n yl processing methods to take good mixes and masters, and make them great.

And The Stage Is Set!

Simply put, stage is here to giv L ` + Fve your mixes that final shine and depth– , 2 E _ you’ve heard on countless records, drawing out an inherent character you might not have evenq ( T = U W } 6 D known your sounds possessed. By leveraging subtle delays\ N J n a B I ^, internalS p M o m ] ! phase augmentation and modulation techniques, you can now effx N mortlessly em` Y kphasize the natural depth and space of any natural recort ? D m Cding or synthesized element. The result is an increase in overall definition and perceived size – all elusive qualities that in the end contri~ g , n `bute to a, e 5 tyy Z b @ I ^ | 9 Bpe of sonic weight th^ [ / = k z M n :at will quickly become indispensable to your audio toolkit.

And just how is this possible Under stage’s hood are mighty psychoacoustic algoritX 2 u Jhms that power the innovative panning and stereo alteration controls, giving engineers, sound designers, andB E & | + Q electronic musicians the abilitO T $ l ? 0 )y t( ] (o sculpt their stereo image with minimal effort and maximum precision. Arr– 0 u t = 9 &ange your tracks from left to right, front to bH j Q { \ wack or even diagonally if you like; enhance the ambience of your masters or go for wildly modulated effects. stage can do it all!

A New Level o9 p L zf Versatility in The Realm? @ \ ~ * r q + A of Spatial Manipulation

Inside stage are fe 9 v 0 ) S ~ sour innovative modulesw E | [ g [ a that give you access to stereo widening techniques such as the Haas/ 3 @ _ effect, phase inversion, M/= F p @S signal processing, and a number of proprietary a~ N 2lgorithms that ensure that your signal’s naturalM 4 ` . ( O W y t ambience and ster/ Y \ & J B yeophonic composition is brought to if 3 H . J Ats maximum potential while retaining phase coherence and ensuring that the pK % & @ (rocessed signal doesn’t collapse when in mono.

Starting with the Input seH U 1 , H e Pction, the Tilt control provides a qp 1 . r # 2uick! A 3 ) I c x ? S way to fix unbalanced stereo recordings while the M/S knob can easily adjust theK : v r ratio of mid to side content. From there, stage’s four key parameters – Pan, Width, Size andT t r { i ^ ^ C ` Feedback – provide an intuiti3 S D p n Jve means of creating the kind of massive stereo images common in modern studio recordings. By changing these parameters, you can effectively utilize the three-dim* + : \ C o !ensional characteristics of yo[ { * , a q g 3 nur sounds and either push them back or bring them forward in the mix. This can not onl2 K w ^ 7 \ M : ey help you unf Z I 3 Emask the various regions of the frequency spectrum but also provide each individual element its own space in the mix.

Positioning individual tracks with precision and constructing flawless mixes without losing dynamic rangv q a d ze has never been easier. Even stage’s default preset will instantly add suS g _ ! E S ^ ]bstance and tactility to your music;* O W try it! In addition to its panoramic enhancement duties are a wide range ofx . w 0 Z – i creative efD k Kfects like stereo flanging and rotary speaker effects, all of which are perfect for in` i M D G E wstruments or vocals. Use a high Size sD A S | p )etting and crank up the Feedback parameter on guitars to g# 2 [ `et a vintage spring reverb vibe, or max out the LFO and send your soundsk _ F into outer space!

Visually Stunning Interface

stage alsC 8 a oo features an interface that is easy on the eyes and provides real-time visual feedback for your parameter adjustments. As you tweak the settings, two animated fields within the plugin window viA 6 p ysualize the changes thata z / are being made – don’t just hear the difference; see it too! For those who demand a more tactile approach to mixing,: * B Q [ E ^ A the GUI has also been optimized for use with touch screens––no more fiddling around with tiny knobs and error-prone buttons that require the use o; _ r nf a mouse!


  • Versatile acouP t { | s R r Lstical enhancement for a large variety of sources – from single tracks to full mixes
  • Remarkable stereophonic augmentation that expands the poo y W = X rtential of interna{ d : 9 O Xl M/S proces& * o Tsing while increasing perceived depth, size a\ { A U ) Hnd texture
  • Inpu_ = l ^ I {t sectw i ~ Y 7 _ Fion, with stereo corrective tools like M/S blend and L/R tilt,F f g s A & G 3 easily and quickly changes the balance between mid, side, left and right inw c kformation of the source material
  • Pan secV 0 9 ! ktion with two sophisQ Q g ( ~ ! X – Rticated algorit1 q T v \ 7 1 M Khms that allow for accurate panoramic adjustment of mono and st~ u ( y s } 9 zereo sources
  • Amb– _ D Fience section that facilitates sub3 z g 3 .tle or extreme stereo width enhancement, tone coloration, and creative frequency modulation effects
  • Perceptually optimized and sourc( m q t ] Ue-dependent Colour module that features four intellige7 A Y E k pnt filters for fine tuM s w 1ning the processed sound
  • LFO module features two LFOs that can create anything from subtle motion to wild modulation effects
  • GUI contains a virtual soundsta} \ Nge to i_ : (ntuitively visualize and adjust all spatial parameters
  • An inn| $ @ovative routing system that allows for the wet and dry signals to be monitored either in tandem or separately

H. , H & e – X l GAPPY VALEh Y W a 4 & tNTiNE’S DAY!!!

Here are the gifts for MacOSX users, all plugs not protected by PA-Layer