VST/AU plug-in instrument/effect round-up: Week 45

Another threesome

Reverb, compressor and synth plug-ins fall under our watchful eye this week: read on and we’ll try and help you decide if any of them are worthy of further investigation.

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: Eventide Blackhole

Eventide Blackhole

This “massive reverberator” has had previous lives in Eventide’s DSP4000, H8000 and Space Stompbox hardware, and now it’s available as a native plug-in. It can be used to design huge spaces and has a clear, knob-driven interface. The price listed above is an introductory one.

Buy or download demo of Eventide Blackhole

Lom Jono

Inspired by modular synthesizers, Jono promises classic features with an experimental twist. There are a couple of oscillators, a state-variable filter, layered LFOs, an echo effect, a recorder and a step sequencer. A selection of presets is supplied, or you can roll the dice with the Randomize button.

Buy or download demo of Lom Jono

Crysonic Spectra C2

A multi-purpose compressor that’s said to impart subtle but desirable analogue characteristics onto any audio signal. The interface has been redesigned, the Ratio is continuous and you can set the Release to automatic mode, in which Spectra chooses the best value based on the incoming audio material.

Buy or download demo of Crysonic Spectra C2

Liked this? Now read: Free music software: the best audio app and plug-in downloads on the net

Connect with MusicRadar: via Twitter, Facebook and YouTube

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.