Hi-hat and cymbal close mic channel · VST3 · AU
The channel for hi-hat and cymbal close mics. Nevada finds the few narrow resonances that make a cheaper cymbal shrill or tinny and pulls them down to the level of their surroundings, only while they ring.
Arizona takes out the clank, Shine opens the top and Harsh bites only the hard hits. Satellite sends the hi-hat to the snare, kick and tom plugins so they can remove it from their own mics.
Nevada
A dynamic resonance suppressor. Each 47 Hz band is compared with both of its neighbors a third of an octave away, so the natural roll-off of the top is left alone. It does not rotate phase, so the cymbals stay in phase with the snare and the overheads.
Harsh
A dynamic cut on the harsh band. Quiet hits keep their shine and the hard hits lose their edge.
Satellite
Hihat + Cymbal sends its raw signal on one of eight numbered links. The receiving plugins learn the path from the hi-hat to their own mic and subtract it. The drum itself is never touched.
Duck
Duck lowers the cymbals briefly on snare and kick hits. It hears them through the plugins themselves, with no sidechain routing.
The front panel, left to right and top to bottom. Every control reads 0–10. DEEP adds: Duck Fine, Satellite (send link), Sync.
| Module | Controls | What it does |
|---|---|---|
| In | Input · Cut | Input trim and a fourth-order high-pass. |
| Arizona | Arizona | Clank and tin cut around 1.1 kHz. |
| Shine | Shine · Air | Top-end lift and air. |
| Tame | Harsh · Sizzle | Dynamic cut on the harsh band and a de-esser for the sizzle. |
| Nevada | Nevada | Dynamic resonance suppressor, 0–10, default 8. |
| Duck | Duck | Brief dip on snare and kick hits, no sidechain routing. |
| Stick | Stick | Stick definition. |
| Glue | Glue | API 2500-style compression. |
| Grit | Grit | Saturation. |
| America | America | The last tonal stage. |
| Out | Level · Ceiling · Mix | Look-ahead limiter and dry/wet. |
Nevada at the default 8, worst peak above the 1/6-octave smoothed curve.
| Material | Before (v1.2) | Nevada 8 |
|---|---|---|
| Synthetic cheap cymbal, 9 known resonances | — | −7.7 dB average, strongest −12.8 dB |
| Real crash close mic | 13.4 dB | 8.1 dB |
| Second crash take | 10.2 dB | 7.8 dB |
| Old sample library cymbals | 12.1 dB | 8.6 dB |
| Good cymbal, no resonances | — | ±0.1 dB per third-octave |
| First 10 ms of the hit, 2–16 kHz | — | −0.3 / −0.7 dB |
No EQ can turn a brittle cymbal into a smooth one. Nevada removes the narrow peaks that make it shrill, which is the biggest audible difference, but it cannot add sustain the cymbal does not have.
Yes. The reference must be a mic dominated by the hi-hat. An overhead as the reference measured −0.1 to +0.2 dB of reduction, which is nothing, because it hears the whole kit.
It works inside one host process: VST3 and AU in Cubase, Reaper, Studio One and similar. Hosts that run each plugin in its own sandbox (AUv3, Logic's sandbox, bridges) cannot share the link.
The whole kit as one picture with the cymbals tamed. A west-to-east EQ map, Kansas compression in the middle and a Duck that hears the snare and kick.
Coast to coast Details
Florida removes the cardboard without dropping your level. Tune builds the body at the drum's own note, Crack and Air put the top on, and a chamber sits behind it.
Florida shaper · chamber Details
Texas-size cut from the muddy area, a beater click built from your own kick, sub that hits and a room that leaves the low end dry.
Texas cut · real click DetailsOne email when the plugins go on sale, with the launch price and gain-matched before-and-after examples. Nothing else, and you can leave the list at any time.