VST/AU plug-in instrument/effect round-up: Week 37

Four more

Get ready for EQs, an emulation of a famous piano and a virtual steel drum. Don’t say we don’t give you variety here.

Also make sure you check out these regularly updated features:

The 20 best VST plug-in synths in the world today

The 14 best VST plug-in drum machines in the world today

If you've got a new PC or Mac plug-in, make sure you let us know about it by emailing musicradar.pressreleases@futurenet.com with all the details.

NEXT: G-Sonique GSXL4070

G-Sonique GSXL4070

Based on “the famous British mix console equalizers”, this EQ promises a modern sound that isn’t over-saturated or designed to give excessive colouration. It’s fully parametric and has four bands, and if you’re quick you might be able to pick it up for the ‘early bird’ price of €18.90.

Buy or download demo of G-Sonique GSXL4070

Softrave Steeldrum

If you want to give your music a Caribbean edge, this steeldrum instrument - which features eight velocity layers - might be the answer. Its samples come from a drum that heralds from Trinidad and Tobago, if that matters to you.

Buy Softrave Steeldrum

Sound Magic Piano Thor

The Thor piano was a famous Steinway D grand that was played by virtuoso Vladimir Horowitz. This, unsurprisingly, is an emulation, and is designed to give extra bite when played hard, and a soft, singing tone when played gently.

Buy Sound Magic Piano Thor

Voxengo CurveEQ 3.0

This spline EQ shows you the actual filter response you’re designing by way of a smooth, curvy line. This enables you to see what the equalisation is doing to the sound and (in theory) create better mixes. Primarily designed for mastering, CurveEQ can also be used on a per-track basis.

Buy or download demo of Voxengo CurveEQ

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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.