Native Instruments kicks off its season of Black Friday deals by offering you the Ozone 11 EQ and Komplete Start music software bundle for free

Some of us might still be trying to recover from all of those Halloween jump scares, but the music software industry has already moved on, and the Black Friday plugin deals are starting to roll in. 

Native Instruments has got its season of deals rolling by giving away two products: the Ozone 11 EQ plugin and a new version of the Komplete Start production suite.

Lifted directly from iZotope’s award-winning mastering suite, Ozone 11, the Ozone 11 EQ promises an easy-to-use interface that enables you to quickly focus on problem frequencies, while the stereo image can be shaped using the Mid/Side mode. There’s also a dedicated Transient/Sustain mode, which enables you to isolate and process these two aspects of your sound individually.

Ozone 11 EQ is available as a free download on its own, but you can also grab it as part of the aforementioned Komplete Start production suite, which contains a pretty generous selection of instruments and effects.

On the instrument side, you get the likes of the Hypha acoustic-electric hybrid, Analog Dreams vintage synth emulator, and Ethereal Earth soundscape generator. Effect highlights include the Raum reverb, Supercharger compressor, Replika delay and Guitar Rig 7 Player.

You may have picked up some of this software before - possibly as part of a previous NI giveaway - but if you haven’t, or are missing some of it, head on over to the Native Instruments website and do the download thing.

NI’s full Cyber Season sales have just launched, too - you can view the full offering here.

Native Instruments free plugins

(Image credit: Native Instruments)
Ben Rogerson
Deputy Editor

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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