Audified Audio Plugins [WiN]

• Product: Audified Audio Plugins
• Developer: Audified
• Version: 2025
• Format: VST3, AAX
• Requirements: Windows 10 or later
• Source: audified.com

The Audified Complete Bundle spans 15 plugins across three architecturally distinct families: German broadcast hardware emulations (U73b Compressor, U78 Saturator, RZ062 Equalizer, 1A Equalizer), a Gallien-Krueger bass amplifier suite with three modeled heads and full mic/cabinet chain, and a reference monitoring system (MixChecker Ultra and Pro) that simulates 90+ playback devices with headphone-compensation correction curves. The remaining tools — MultiDrive Pro, Linda IronVerb, and the six ToneKnob plugins — address drive pedal selection, algorithmic reverb with Ironize modulation, and one-knob simplified processing respectively. The unifying differentiator is circuit-level modeling sourced from real hardware across the German broadcast, vintage studio, and stompbox lineages, deployed across a session from tracking to final reference check.

Key Takeaway

A session running tracked bass through GK Amp 3 Pro, coloring stems with U73b and U78, shaping tonality with RZ062 and 1A, printing through Linda IronVerb for space, and checking translation on MixChecker Ultra stays entirely inside this bundle without category gaps. Engineers who require parametric surgical EQ, convolution reverb, or advanced sidechain ducking will reach outside it — those tools are absent. Producers who already own a complete iZotope, Waves, or UAD stack get redundancy on most processing categories; the differentiated case is the German broadcast emulation set (U73b, U78, RZ062), which has no close analog in those catalogues at this price tier.

U73b Compressor and U78 Saturator — Fixed-Threshold Broadcast Compression, Band-Selective Saturation

The U73b is a German broadcast compressor/limiter emulation with a fixed-threshold design: the compression amount and release are the primary variables, the attack is program-dependent. On drums, this fixed-threshold behavior produces a slapped transient character that resists mid-frequency sponginess — the attack holds the crack while the release trails harmonic content. In limiter mode the unit brickwalls without the pumping artifacts typical of fast-attack VCA designs, making it a viable mix bus and mastering chain insert at low compression ratios. The sidechain and hi-pass filter options extend it beyond the hardware’s original broadcast spec.

The U78 Saturator operates from the same U73b circuit topology but replaces dynamics reduction with band-selective harmonic saturation. The HiPass and LowPass filters around the saturation stage let low-end weight pass through dry while adding upper-harmonic complexity in the 2–8 kHz range — a common treatment for virtual instruments that sit convincingly in a mix but lack the density of recorded signal. Auto Output compensates gain as saturation increases, preventing the perceptual loudness jump that masks whether the saturation is actually improving the track. Neither plugin produces distortion above roughly moderate drive settings; engineers needing heavily clipped saturation for parallel crunch will find the U78 too polite past its midpoint.

The pairing removes the most common sequential insert on color-dependent stems: one for transient management, one for harmonic density. Working that way runs both from the same circuit-emulation model, which keeps the tonal character consistent across multiple channel strips in the same session.

RZ062 Equalizer — 650 Hz Shelf-Rotation Midrange, Two-Module Presence Architecture

The RZ062 ships as two distinct modules rather than one EQ with a mode switch. The A module centers its midrange behavior on a 650 Hz pivot: raising the bass simultaneously lowers the treble, and the inverse. Frequency changes on one end of the spectrum produce proportional countermovement at the other, compressing or expanding the perceived bandwidth rather than independently boosting shelves. This is different from any parametric or graphic EQ in the session — it changes the mid-to-side energy relationship rather than absolute band values.

The B module replaces the A’s coupled rotation with a presence knob that selects from four fixed frequencies and adjusts their gain. The cut sits in the presence range where forward, slightly harsh material needs gentle forward placement without adding brightness. On acoustic instruments and vocals, this operation occupies a narrower frequency window than a parametric Q, which keeps it from pulling adjacent information out of the mix relationship. The circuit-level emulation involved modeling over 200 individual components from the original German broadcast hardware.

Neither module performs parametric EQ in the conventional sense. Engineers in the habit of notch-cutting problem frequencies or narrow-band boosting for corrective work will find both modules too broad and too coupled for that use. The RZ062 fits sessions where the tonal character needs steering rather than correcting, and where the valve saturation coloring from the circuit model is appropriate to the stem.

1A Equalizer — Pultec-Topology Boost-and-Attenuate with THD Metering and Mid/Side Mode

The 1A is a tube-circuit EQ built on the Pultec topology, meaning the low-frequency section simultaneously boosts and attenuates — increasing both controls at the matched frequency produces the well-known combination of added low-end weight and tighter subsonic energy beneath it. The THD meter is a live readout of total harmonic distortion from the tube stage, giving a numerical reference for what would otherwise be a tactile judgment call. At lower THD percentages the coloring is primarily second-order harmonic; higher values bring in third and fourth, which changes the character from warm to driven.

Mid/Side processing routes independent 1A instances to the mid and side components of the stereo signal, with linkable parameters. On mix bus or mastering applications, boosting low end only in the mid channel adds weight without widening the bass, which is a specific problem on streaming-normalized material where sub-bass in the sides creates phase issues on mono playback. The L/R mode switching makes it dual-mono for tracking applications.

The saturation is the lead design emphasis — the product documentation describes it as the plugin’s core function rather than the EQ curve. Engineers who need the EQ behavior without saturation will find no bypass for the tube stage; the circuit model runs all the time. That saturation floor is appropriate for stems being colored throughout a mix, but becomes an issue on clinical or minimally colored mastering chains where flat headroom is required.

GK Amplification 3 Pro — Three Gallien-Krueger Head Models, Bi-amp Routing, Full Mic and Cabinet Chain

GK Amp 3 Pro emulates three Gallien-Krueger heads: the 800RB (1982, the amp that established bi-amplification as a standard bass production technique), the MB150 (parametric mid control, compact signal path), and the 2001RB (dual-channel, active 4-band EQ, Voicing controls). Each head model carries the character of its hardware lineage — the 800RB’s two-channel frequency split into woofer and tweeter paths produces a different low-end density than the MB150’s single-amplifier topology. Switching between heads during tracking changes the envelope behavior at the input stage, not just the EQ curve.

Three cabinets with switchable woofer-plus-tweeter configurations are compared through an A/B control. Nine mic models are positioned with variable angle and distance — close-to-grille placement emphasizes cone-edge midrange coloring; further placement introduces room reflection that changes the sense of cabinet size in the recorded signal. The combination produces a recorded bass tone without outboard hardware or acoustic tracking space requirements. A built-in tuner and Smart Gate with a Learn function for automatic threshold detection are operational additions.

The IR Loader accepts custom impulse responses, extending the cabinet simulation beyond the three included models. Bass engineers running sessions without access to high-quality recording environments — home studios, untreated rooms, remote production — recover cabinet and room character through the mic chain that would otherwise require a $5,000+ tracking setup. The plugin does not model power-amplifier saturation at voltage levels above the rated output of the hardware original; the headroom behavior above unity gain reads cleaner than a physical 800RB pushed past its thermal threshold.

MultiDrive Pro — 12 Stompbox Circuits Across Overdrive, Distortion, Fuzz, and Boost

MultiDrive Pro models 12 pedal circuits: 808-Scream and 9-Scream (Ibanez TS-topology overdrives with the mid-forward bandwidth narrowing that characterizes that circuit), B-Driver (touch-sensitive blues overdrive), O-Drive and S-Drive (first-generation overdrive topology with and without tone control), M-Fuzz and F-Fuzz (high-sustain germanium and silicon fuzz characters), One-Distortion and BAT Distortion (asymmetric clipping distortion into buzzsaw territory), XXL Distortion and M-Drive (heavily compressed metal distortion with scooped mid character), and T-Boost (treble-forward clean boost). The gain structure and taper behavior on each model was built from circuit measurement rather than general-purpose overdrive DSP — the knobs behave nonlinearly in the same positions as the hardware originals.

On non-guitar sources the pedal circuits produce the same clipping behavior they do on instrument signals, which makes them viable as saturation stages on drum buses, synthesizers, and parallel vocal processing. The mid-forward boost of the TS-topology models adds the 720–1kHz region on bass guitar without needing an EQ after the drive stage — the frequency shaping is embedded in the circuit topology. 33 factory presets were built by guitarists from the source material, providing calibrated starting points before any user parameter adjustment.

The plugin does not model amplifier input stages after the pedal circuit — it stops at the stompbox output. Engineers running it into a clean DI chain get pedal coloring without amp coloring; that may require adding GK Amp 3 Pro or another amp sim downstream to reach a fully produced guitar or bass tone. Running MultiDrive Pro without a subsequent cab sim on guitar-frequency material leaves the recorded signal with unfiltered high-frequency content that typically needs taming.

Linda IronVerb — Six Algorithmic Modes, Ironize Modulation, Mod Amp/Speed Section

Linda IronVerb runs six algorithmic modes: Slapback (short, transient-reflective), Standard, Dense, Flutter, and two others that push progressively into long ambient decay. The Ironize modulation is the differentiating control — it adds a metallic or glassy character to the reverb tail that changes the perceived material of the reflective surface rather than the room size. At low settings it adds texture to the tail without shifting pitch; higher settings introduce an iron-surface quality that is not achievable through standard modulation depth and rate controls.

The Mod Amp and Mod Speed section applies a separate chorus/vibrato layer specifically to the reverberated signal rather than the dry input. This allows modulating the wet signal without modulating the dry, which preserves the direct transient position in the stereo field while the tail moves. Hi-pass, Damp Amount, Damp Frequency, and Resonance shape the tail frequency content — the Hi-pass removes low-energy room accumulation that creates mix cloudiness on dense arrangements.

Linda IronVerb is an algorithmic design — no convolution impulse response library is included, and the room character does not replicate specific physical spaces by acoustic measurement. Engineers needing a specific room, plate, or named hardware reverb emulation will not find it here. The Ironize modulation suits ambient and textural material; on acoustic drum overheads or room mics where natural reflection behavior is required, the metallic tail character reads as an artifact rather than a feature.

MixChecker Ultra and Pro — 90+ Device Simulations, Headphone Compensation Curves, Six Analytical Modules

MixChecker Ultra applies IR-based transfer functions of 90+ playback devices — consumer earbuds, laptop speakers, phone speakers, studio monitors, car audio, club PA systems, and ambient noise environments — to the mix output in real time. The 2026 Reference+ update added headphone compensation: a per-model correction curve that flattens the frequency response of the specific headphones being worn before the device simulations run. Without the compensation layer, the simulated output includes the monitoring headphone’s frequency coloring stacked on top of the device transfer function, producing an inaccurate combined response. With it, the device emulation runs on a corrected baseline.

Six analytical modules run alongside the device simulations: Loudness (with streaming service normalization presets for Spotify, Apple Music, and others), Dynamics (PSR — peak to short-term loudness ratio in 3-second windows), Spectrum, Stereo analysis, Goniometer, and a Player module for A/B comparison against an imported WAV or MP3 reference track. Each module is individually expandable. The PSR readout specifically identifies over-limiting — material with a PSR below 3–4 dB has been compressed to a degree that most streaming services will penalize or normalize to a lower perceived loudness.

MixChecker Pro includes 60+ devices without the headphone compensation layer, analytical modules, or custom IR import. Engineers mixing primarily on calibrated studio monitors in a treated room get less value from the headphone compensation; the core device simulation set in Pro covers the consumer playback range adequately for that monitoring context. Ultra’s analytical section displaces separate metering plugins — the Loudness and Dynamics modules run the same LUFS/PSR measurements that dedicated tools like Youlean or Nugen provide, eliminating the need for additional instances in the metering chain.

ToneKnob Bundle — U73b-Derived Compression, 1A/U78 Harmonic Saturation, Ironize Shimmer Reverb, TS-Topology de-Essing, Modulation Morph

The six ToneKnob plugins reduce the full-featured processing from the Audified outboard set to single-knob operation by fixing internal parameter relationships. The ToneKnob Compressor runs the U73b circuit model with the release-to-compression ratio mathematically coupled — turning the knob clockwise simultaneously increases compression amount and adjusts release time toward program-dependent behavior. The ToneKnob Saturator fuses the harmonic coloring of the 1A EQ tube stage with the U78 band-saturation character, transitioning from second-order harmonic coloring at low settings to heavier third and fourth-order saturation past the midpoint. These are not simplified separate modes; they’re a single continuous function across the combined character of both source circuits.

ToneKnob Sssniper targets sibilant frequencies with automatic detection, removing the need to manually identify the problem center frequency before applying de-essing. ToneKnob TriMod runs a blended algorithm that transitions through flanger, chorus, and phaser characters in sequence rather than selecting between them — the knob moves through era-specific modulation character from 1970s flanging to 1990s dense chorus without a mode switch. ToneKnob Stargazer is a hybrid reverb with a shimmer grain generator, producing ambient tails with pitch-shifted shimmer content built into the decay. ToneKnob TinyAmp runs a four-channel guitar amp model with built-in cabinet simulation.

The single-knob architecture removes the ability to adjust any internal parameter relationship — a user who needs the U73b compression behavior with a different release time, or the saturation character at a specific THD percentage, needs the full-featured version. ToneKnob processing is appropriate for producers who want a fixed treatment applied quickly without optimization: a fixed saturation color across a session, a consistent compression character for rapid tracking, or a de-esser that requires no threshold judgment.

No Convolution Library, No Parametric Surgical EQ

The bundle contains no convolution reverb — Linda IronVerb is algorithmic, and MixChecker Ultra’s IR Loader imports spatial impulse responses for monitoring reference, not reverb processing. Sessions requiring room, plate, or hardware reverb emulation via impulse response need a separate convolution host. The RZ062’s coupled frequency response and the 1A’s saturation-linked tube stage are additive colorists, not corrective tools — neither produces a flat bypass character. Engineers needing narrow-band notch filtering, high-slope dynamic EQ, or transparent gain-only equalization work outside this bundle’s EQ capability. MultiDrive Pro ends at the stompbox output and does not include a subsequent amplifier or cabinet simulation stage for guitar use, placing it in a pre-amp role that requires a separate amp sim downstream for full production-ready guitar tones.

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