Posted on

Name this plugin – win a free copy

And we have a winner…

How to Submit Names

Just leave a comment on this page. You can leave as many comments as you like, and you can submit as many names in a single comment as you like.

There is just 1 rule: you can have conversations through replies, but please have conversations through replies only. Leave main comments for name submissions only. We’ll remove any conversational posts that aren’t replies. It’s not that we don’t like you, it’s just that we need to keep in clean.

About the Plugin

This think kicks butt, and I can’t wait for you to try it. Until then, I’ll just talk about it a little bit. This thing is what you get when you cross a transient designer with an EQ. I absolutely love this thing for shaping the sound of drums. And not just subtle shaping. This thing gives you so much control over the sound of your drums without resorting to sample replacement.

You get separate control over your transient and your sustain with a 3 band EQ for each, which means you can eq the attack separately from the sustain. This opens up tons of possibilities that you just can’t do with eq and compression.

Do you want the transient from one snare, but the sustain from another? Easy peasy.

Add or remove beater click with ease. And it’s all natural. There’s no synthesis or sample replacement going on, just pure, unadulterated control over your percussion.

This plugin just makes shaping your drums sooooo much easier.

Audio Example

This is just a quick audio example I pulled together to show how you can do extreme drum shaping without sample replacement. I took the boomiest kick and the softest snare and turned them into deep, tight, hard hitting drums. No sample replacement involved. But it’s not just for metal. You can take hard drums and make them squishy soft. there’s really no limit.





Posted on

Name this Limiter – Win a free copy

Names must be submitted by September 4th at 11:59 pm.

We need your help. We’re about to release a new plugin, but we are terrible at coming up with names. We want you to name it for us.

How to Submit Names

Just leave a comment on this page. You can leave as many comments as you like, and you can submit as many names in a single comment as you like.

There is just 1 rule: you can have conversations through replies, but please have conversations through replies only. Leave main comments for name submissions only. We’ll remove any conversational posts that aren’t replies. It’s not that we don’t like you, it’s just that we need to keep in clean.

About the Plugin

limiter Screenshot 3For the sake of consistency, I’ll call this plugin Limitator for now. I expect your ideas to be better than that.

Limitator is is a brick wall limiter designed with one thing in mind: Make your mixes loud without screwing up your mix. No matter what side of the loudness wars you’ve decided to plant yourself on, the need to make mixes loud for clients isn’t going away any time soon.

But nothing drives me more nuts than listening to all my hard work turn to garbage when pushing the mix loud. That’s why we made this plugin. We wanted a mastering limiter that lets you push your mixes loud and still keep the punch in your drums and keep your tonality intact.

We’ve been working on this one for a long time, and we’re finally ready to let it loose.


  • Dual Limiting Modes
  • Huge variety of styles with simple interface
  • Insanity Check normalizes your level so you can compare your original sound with the compressed sound without introducing a level change.
  • Up to 8x oversampling to prevent intersample peaks.
  • Dithering, because… Why not?
Posted on

Stereo Guitar

Double tracking guitars has become a pretty standard practice for getting electric guitars to sound larger than life. Turn on the radio today and almost every rock song you hear has double tracked guitars.

I wanted to find a way to make my guitar sound bigger without having to double track it. There are a few simple ways of doing this: Stereo mic’ing the amp, running the guitar through 2 different amps, chorus, etc. All of these have a widening effect, but don’t quite capture the largeness of a double tracked guitar.

1 Guitar, 2 Outputs

Enter the stereo guitar. This mod gives you a separate output for each pickup, so you can record the output of each pickup onto separate tracks, or send them to separate amps. So we can run the bridge pickup out to one amp, and the neck pickup to another amp and track them at the same time. Or, if you like using amp sims, you can just run them through different (or the same) amp sims.

I liked the results so much that I did the same mod to my other guitar as well (which was far more work because I had to drill a huge hole through thick hard wood). I then did the mod to my bass. The results were, um… dumb.

The cool thing about this mod is that the guitar still works as it did originally. Because the second output is just hardwired to the bridge pickup directly, the original output is still switchable when nothing is plugged into the new output.

How it’s Done

There are lots of ways to do this and a lot depends on the style of guitar you have. I choose the simplest way I could think of: Connect a wire directly from volume knob to a new output jack (also connect the ground). That’s all there is to it. This assumes you have separate volume control for each pickup (like LP or SG style wiring).

The hardest part is drilling the new hole for the new output jack. This was waaaaay easier in my SG than it was in my LP. The LP required drilling a thick hole through very thick hard wood. The SG just needed a little spot routed out to fit a new jack.

I’ll be modding my new telecaster knockoff here in a couple weeks, so I’ll take better pictures of the process and post them.

The Results

Here are a couple quick examples of what a stereo vs mono guitar sounds like. These clips start out as normal mono guitars and switch to stereo guitars.

Clean Guitar Stereo Guitar Clean
Distorted Guitar stereo Guitar Distorted
Mix (1 Guitar + Bass) Stereo Guitar in a mix


Posted on

Ward-Beck Systems and The Hoser

Transparent WBS Logo

We often get asked what equalizer we used as a model when we created The Hoser. We are happy to announce that the hardware is a Ward-Beck Systems M462B. For those unfamiliar with the history, Ward-Beck Systems is a Canadian hardware manufacturer and has been a key player in making some of the most sought after hardware processors.

Why did we model this piece of hardware?

When we were looking at the different options of which hardware we would use to model our EQ plugin, the Ward-Beck M462B stood out in the crowd. Not only does it have an easy to use and read layout, but the sound of this thing was just something that we couldn’t not share with the world.  These units are no longer in production, and they are getting harder and harder to find (I guess people aren’t giving up the ones they have).

We knew that not everybody had the ability to get one of these EQs for themselves (it was hard for us to get ahold of one), and we couldn’t find any other plugins out there that modelled this unit, so we took it upon ourselves to get the EQ into your hands.

Here is a picture of the actual hardware unit that we modelled.


After we released The Hoser, Ward-Beck contacted us and had this to say about the plugin:

“All of us at Ward-Beck Systems are pleased to learn that Boz and David have recognized the performance and uniqueness of the legacy Ward-Beck Systems audio processors. The choice of modelling their Hoser plug-in on our legendary M462B Parametric Equalizer (circa 1975) pays homage to the near 50 year legacy of our company. Their Innovative plugins are enabling a new generation of audio engineers to access sought after performance of hard to find analog hardware.

The team at Ward-Beck Systems would like to thank them for this compliment and are excited that the Hoser is available to world. We wish them continued success!”

 Needless to say, we are super excited to be a part of Ward-Beck System’s legacy, even if it’s just a small part.


Posted on

Mixing Contest!!!

Update: The contest is now ended. We are now going through the submissions and picking a winner. There were lots of submissions and we want to make sure each one gets a fair listen, so hang tight. When we choose a winner we will announce it through our email list and facebook, and contact the winner directly.

In the meantime, the tracks will remain available to download for those who missed the contest but still want to mix the tracks for practice.

Boz Digital Labs and David Bendeth are holding a mixing contest with awesome prizes. Contest Ends Aug 21, so get your mixes in early.



summer Mixing banner 2

1st Place: All Boz Digital Labs plugins for life! This means that you get all BDL plugins that have been made or ever will be made.  That means there will be one less person in the world who wants me dead.

And a PRS SE 245 signed by Paul Reed Smith.

2nd Place: You take home +10db Bundle and Hoser XT.

3rd Place: Your choice of either +10db Bundle or Hoser XT.

Random Contestant: One random contestant will win their choice of either +10db Bundle or Hoser XT.  This person will be chosen randomly.

The Song

I’d describe this song as a modern rock ballad, but I don’t want my opinion of the song swaying your mixing decisions, so listen to it yourself and judge how you want the final mix to sound.

You can listen to the song mixed by Greg Johnson. Keep in mind that this is a contest to see how you can do mixing it, so don’t use this as any sort of a golden reference or anything. Use your own creative judgement.

Title: Believe

Written By: Josh Paschke and Greg Johnson

Performed By: I Am Cassettes – Josh Paschke (Vocals), Jon Levario (Guitar), Darren Garcia (Drums), Greg Johnson (Keyboards) and Kevin Garcia (Bass)

Tracked By: Greg Johnson

BPM: 74 at 6/8

How to Enter

– Step 1 –

Download the stems. There are 4 separate zip files. They are big, so be patient. Choose either Mirror1 or Mirror2 (not both) for each section. The files are the same.

Drums: Mirror1, Mirror2

Vocals: Mirror1, Mirror2

Orchestra: Mirror1, Mirror2

Guitars: Mirror1, Mirror2

Note: These stems are tracked at 48kHz. Most DAWs should be able to handle the sample rate conversion just fine if you want to mix in 44.1kHz, but I wanted to let you know in case it throws anybody off.

– Step 2 –

Mix your song. Duh.

– Step 3 –

PAY ATTENTION!! THIS IS IMPORTANT. Upload your song to  and tag it with #bdl2015mix. If you don’t do this, we will not see nor hear your song. Make sure that your track is downloadable so that we can hear the original version without Soundcloud’s compression. It’s in your best interest to use high bit rate mp3s when uploading.

If you don’t have an account, you can make one quickly for free.

– Step 4 –

Just wait. We will go through and listen to all the songs once the deadline is here and we will announce the winner.


1) One Entry Per Person. You can enter one song. You are free to post your mix for feedback on other forums or Facebook or whatever, but once you submit it, you have submitted it.

2) Submit your mix by August 21. Any submissions entered after this date will be ignored. There doesn’t exist a single excuse in the world that will make us change our mind on this, so don’t procrastinate.

3) No whining. This is supposed to be fun. Not everybody will agree with the winner. Just accept that fact now so we can all move on and have a good time.

4) Give Feedback to Other Contestants. This isn’t really a rule, but just some advice. The whole point of this is so we can all get better. By giving feedback on other people’s mixes, not only will they learn, but so will you. Be nice about it. I shouldn’t have to say that.

5) Have Fun. If you aren’t having fun, you are doing it wrong. The whole point of this contest is to learn and get better. Any emails I received telling me that I should die or my house should be burned down will be ignored and forwarded directly to your mom.

Other Thoughts

This is not a loudness contest. Smashing your mix into oblivion is not the purpose. That said, keep in mind that the people judging the mixes are actual humans and subject to the laws of psychoacoustics.

Be creative.  This is your chance to try new things without consequences. Get out of your comfort zone a bit and have fun with it.

Posted on

Imperial Delay 1.5

Screenshot 1_5

Imperial Delay 1.5 has officially been released. Existing owners of Imperial Delay can upgrade for free. You can upgrade by going into your account page here.

Here is a list of the new features:

  • Separate control over Left and Right delays
  • New Presets
  • Better Preset Management
  • A/B bank
  • Improved Smear algorithm
  • Less RAM
  • Removed the infernal spinning tape
  • Improved feel of feedback knob (and reduced feedback range)
  • Feedback disable button
  • New Preset location for windows
  • Much Smoother Feedback limiting (no more out of control feedback)
  • Fixed VST3 automation issue in some DAWs
  • Fixed some odd things in the RTAS graphics on OSX.
  • Other minor bug fixes

Some things to know before you upgrade to version 1.5

Imperial Delay 1.5 will not overwrite the previous version of Imperial Delay that you have installed. This is to avoid compatibility issues with any projects that had Imperial Delay 1.0. So after installing 1.5, any projects that used 1.0 will still use version 1.0.

If you do not want to have 1.0 and 1.5 on your computer, you can just uninstall version 1.0.

The location of the presets folder has changed for windows users. This means that if you have any presets saved from version 1.0, they will not show up in your 1.5 preset list. If you want to transfer your presets, just copy the presets files from the old presets folder and paste them into the new 1.5 presets folder.

The presets made in version 1.0 will work just fine in version 1.5, but presets made in 1.5 will not work in 1.0.

Known Issues

  • Sometimes pitch shift can cause slight timing offset between left and right channels, even when the pitch is the same on both channels.
  • User manual has not yet been updated to reflect the changes.
Posted on

Tracking Without Headphones


vocal (Medium)

It’s a well known fact that vocalists are an odd breed of people (I can say this because I now consider myself a vocalist, as proven below). Their water has the be the exact right brand and temperature, they generally sing best after a two hour yoga session, and they get sick ALL THE TIME, etc.  But one of the things that is the absolute hardest things to deal with is getting the mix in their headphones just perfect. They can’t hear themselves, it’s not fluffy enough, the headphones make their voice sound orange. We’ve all heard these before.

Ok, to give a little credit to vocalists, it’s really hard to sing if you can’t hear yourself and the mix properly, and most people don’t practice singing with headphones on, so the whole setup is really out of their normal routine, which is why it’s hard for them (sorry, I mean us) to explain what they need.

Wouldn’t it be awesome to be able to track vocals without headphone without having horrendous amounts of bleed? What if you could just play the backing tracks through the monitors and ditch the headphones altogether? Well, you actually can. This simple trick will show you how you can get rid of the headphones and instead track with monitors without having unacceptable levels of track bleed.

How it’s Done

Step 1: Set up your monitors so that the vocalist can hear comfortably and sing along. You don’t have to worry about microphone bleed.

Step 2: Track the vocals, bleed and all.

Step 3: Make a new track and record just the monitors with no vocals. This track is pure bleed. That’s what we want.

Step 4: Invert the polarity on the bleed only track and play the two together. Most of the bleed should cancel out and you are left with the vocals only, with much less bleed.

Hands On Example

Here’s an example so you can hear how it works. I’m not normally one to brag, but yes, that’s me singing.

Vox with Bleed
Bleed Only
Vox – Bleed

You should notice right away how much bleed is reduced when combining the two tracks. It’s not completely gone, but it’s worlds better.


It’s not perfect. This method certainly has some drawbacks, and it’s important to know what they are so you won’t be surprised when it comes time to mix.

You’ll notice from the example above that some of the high frequencies still bleed through. This is because even the tiniest of movement in the room creates massive phase delays at higher frequencies, which causes them to not cancel as well.  Low frequencies are pretty much immune to this. So keep out any instruments from the source that you might not want in your final recording.

Make sure you pick your level correctly before you start tracking because if you change the level before recording the the background track, you may run into issues trying to get them to match in level.

A Few Tricks to Make it Work Even Better

Remove Some High Freqs

You can reduce the bleed of high frequencies by rolling off some of the high end in the monitors. You’ll obviously have to use your own judgement here to not overdo it and make it hard to sing to. Iin this example below, I pulled down the high end on the monitor EQ. Notice how much less bleed there is than the example above.

Vox with Bleed
Bleed Only
Vox – Bleed
 Position the Mic

Point a cardioid mic away from the monitor. Since most cardioid microphones are better at rejecting high frequencies coming from behind, it makes sense that it might help to eliminate some of the high frequency bleed. Here’s a test I tried to show you the resluts of that.

Keep Acoustics the Same

When you record the background track, if possible, have the vocalist stand in front of the microphone without singing (or breathing too heavily). The small reflections that happen off the vocalists head and body have an effect on the background track, and removing that may change the acoustics more than you want.


As always, try it out and experiment with different techniques to find a way that makes it work for you.

If you have any ideas to add to this, feel free to add to the discussion by commenting below.

Posted on

David Bendeth Signature Series Compressor – Coming Soon…

We are currently working on the first signature series plugin with multi-platinum producer/engineer David Bendeth (Paramore, Breaking Benjamin, and many others).

Sign up for our mailing list to get more information on this project as it unfolds.

promo shot 1