Eventide is letting you download its new Undulator tremolo plugin for $19 and donating all proceeds to social justice initiatives

In what has to be seen as a win-win, Eventide is offering its new Undulator modulated tremolo plugin for just $19, and has announced that 100% of the proceeds from sales of the desktop version will go to social justice initiatives.

Undulator is described as a “magical” tremolo and is lifted from the classic H3000 Harmonizer effects processor. It combines feedback and detuned echoes that are fed through an AM/FM modulated tremolo, and can be used to add movement to a multitude of sound sources.

We’re told that Undulator can transform regular synth, keys, guitar and vocal sounds into evolving pads, also being useful for creating tempo-synced production elements, soundscapes and “otherworldly, fluctuant delays”. You can sweep between different settings in Undulator using the Ribbon control.

As well as the desktop version, which runs as a VST/AU/AAX plugin on PC and Mac, there’s also an iOS AUv3 version. This has a regular price of $7.99 but can be had for $4.99 until 20 July on the Apple App Store.

Commenting on Undulator’s release, Eventide said: “Eventide Audio is committed to supporting the fight against systemic racism and violence. We hope that you will join us by listening, learning, and taking action.

“We embrace diversity and seek equality, justice, inclusion, and dignity for all. We stand in unity with the Black community and will take action by donating to organizations that support justice and social change. Eventide will be donating 100% of the proceeds of the Undulator desktop plugin to the Equal Justice Initiative & NAACP Legal Defense and Education Fund.” 

Find out more on the Eventide website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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