2025 Summer Virtual Instrument & Mixing/Mastering Plugin Sales Roundup (Part 1)

Hey there! I’m Jooyoung Kim, a mixing engineer and music producer.

I finally submitted a new paper yesterday after about a month and a half of work. It’s a pretty straightforward paper, but building the program took forever… ugh. It’s a tool for measuring crosstalk, THD, and stuff like that. I’ve released it on my GitHub [Link], but I’ll write a detailed post about the program later.

Also, the paper wasn’t that critical, but I’ve been so busy running around for listening experiments that I totally neglected this blog. I’ll get back to writing posts diligently until I find my next topic!

Today, I want to talk about summer plugin and virtual instrument sales. I probably should’ve done this earlier, but since these sales usually happen between June and July, I think we’re still good… right? Haha.

If you purchase through the links below via Plugin Boutique [Link], I get a small commission, which really helps me keep things going. So, let’s dive in!

1) IK Multimedia

Total VI MAX

Click image to purchase Total VI MAX at Plugin Boutique

You’ve probably heard of this one! I previously introduced Total Studio 4 Max , but Total VI MAX is the version that includes only virtual instruments.

Right now, it seems they’re focusing on virtual instrument sales. I’m guessing come July, they’ll shift to mixing/mastering effect plugins. Personally, I think IK Multimedia offers the best bang for your buck, so for beginners, I’d say just grab Total Studio when it’s on sale without overthinking it.

2) Universal Audio

UAD Summer Mixtape Bundle

Click image to purchase UAD Summer Mixtape Bundle at Plugin Boutique

Since the UADx (Native) versions came out, Universal Audio plugins have become super affordable. The Summer Mixtape Bundle, at about $100 for 10 plugins, is a fantastic deal for first-time buyers.

My recommended plugins:

  • Teletronix LA-2A Tube Compressor
  • UA 1176 Classic FET Compressor
  • Fairchild Tube Limiter Collection
  • Teletronix LA-3A Audio Leveler
  • Pultec Passive EQ Collection
  • Lexicon 224 Digital Reverb

These six are solid picks, and you can choose the rest based on your taste.

That said, after years of working with audio and music, I’ve noticed UAD plugins tend to have pretty aggressive saturation. They’re not like, “Wow, UAD is the best!!” for me, haha. Still, they add a punchy vibe to flat recordings or budget mics, so they’re great when used in the right context.

UAD Analog Classics Pro Bundle

Click image to purchase UAD Analog Classics Pro Bundle at Plugin Boutique

If you want even better value, the UAD Analog Classics Pro Bundle is the way to go. The LA-2A and 1176 series get used in projects all the time, so they’re super reliable.

3) Waves

Horizon

Click image to purchase Waves Horizon bundle at Every plugin

Waves isn’t quite the value king anymore with IK Multimedia’s crazy sales, but if you want something lightweight and industry-standard, Waves is still the go-to. You’ll likely find the best deal at EveryPlugin .

Waves’ update plan gets a lot of flak (I’m not a fan either). Switching from Intel to Mac Silicon cost me like $200, which was annoying, haha. That said, newer Mac OS updates don’t seem to cause major issues with older Waves plugin versions.

Horizon is the best value, and if you feel it’s not enough, grabbing the SSL 4000 Collection or API Collection should cover you. Waves’ SSL compressor is really well-made.

4) Eventide Audio

ShimmerVerb

Click image to purchase Eventide ShimmerVerb at Plugin Boutique

Blackhole

Click image to purchase Eventide Blackhole at Plugin Boutique

If you’re into ambient music, Eventide Audio’s ShimmerVerb and Blackhole are pretty much must-haves. They’re great for creating expansive vibes and are consistent bestsellers, so grabbing them during a sale like this is a smart move.

5) Mastering The Mix

EQ Excellence Bundle

Click image to purchase Bassroom and Mixroom bundle at Plugin Boutique

Mastering The Mix makes some really solid plugins, and I especially recommend their EQ series. Plugins like Bassroom and Mixroom visually show how frequencies pop out or sit back based on loudness, which makes tweaking super intuitive.

6) Native Instruments

Click image to purchase Komplete bundle at Native Instruments

Oops, this one’s got just one day left! I should’ve posted this sooner… sorry! Personally, I think getting the Standard version of Komplete is enough. Ultimate or Collector’s Editions feel a bit overkill, haha. You’ll barely use half the stuff in Standard as it is.

7) Synchro Arts

Revoice Pro 5

Click image to purchase Revoice Pro 5 at Plugin Boutique

VocAlign 6 Pro

Click image to purchase VocAlign 6 Pro at Plugin Boutique

Synchro Arts’ VocAlign Pro and Revoice Pro are pretty awesome. I reviewed them last Black Friday,

Synchro Arts Vocalign 6 & Revoice Pro 5: On Sale (40-50% Off, Until Dec. 1)

and they’re still on a 50% sale. If you don’t have a tuning program, I’d recommend Revoice Pro over Antares Auto-Tune or Celemony Melodyne.

8) BFD

BFD 3.5

Click image to purchase BFD 3.5 at Plugin Boutique

BFD London Sessions

Click image to purchase BFD London Sessions at Plugin Boutique

BFD’s expansion packs are on a crazy 70% sale right now—never seen a discount like this! Grab BFD 3.5 and the London Sessions kit, and you’re set for most genres. If you need more, snare add-ons or jazz kits are great options.

There’s probably more coming in July, but these are the standout sales right now. Some of these end today, so if you’re thinking about buying, act fast!

I’ve got a ton of topics in mind, so I’m not sure what the next post will be, but I’ll see you there!

FRISKETCH X Yeonjun Yoon | Um – Sound Directing for the June 14 Performance

Hello, I’m Jooyoung Kim, an engineer and music producer.

Today, I’d like to share a quick recap of the performance I worked on as a sound director last Saturday.

Originally, the plan was to rent some basic speakers and gear for simultaneous recording. But things took a slight turn, so I ended up hauling my own audio interface (Antelope Orion Studio Synergy Core) to the venue… haha.

I also brought a boutique mic preamp, handcrafted in Japan, known for its clean sound. It felt like a perfect fit for recording the acoustic piano, so I decided to take it along.

For miking, I went with an unconventional setup. To avoid peaks, I positioned the mics slightly off the hammers, using different mics for the left and right channels (Peluso P87 and Charter Oak E700). With just a touch of EQ in post-production, the sound came out surprisingly great.

For the audience-facing ambience mics, I was a bit short on options, so I used a Peluso CEMC 6 and an M30 measurement mic. They have different directionality and characteristics, but the result was honestly pretty impressive. Now I’m wondering if I should grab another pair of each to make a proper set…

The main mics ran through the external preamp, while the ambience and vocal mics for narration went through the built-in preamp. The synthesizer was recorded via the artist’s audio interface as a mono line while simultaneously outputting.

In post-production, I widened the synth’s mono line using the UAD Precision Reflection Engine and Leapwing Audio StageOne 2 to enhance the stereo image.

For output, we rented Yamaha 400i speakers, commonly used for busking.

I didn’t get a chance to snap a photo of the audience mic setup… oops. The photos I do have were kindly taken by a friend I was working with. [photo]

Hauling all the cables and gear was a bit of a hassle, but the sound came together nicely, and I was pretty satisfied.

The final mix turned out better than expected, and both the artist and I were really pleased with it. I’d love to share it with you all, but I can’t just post it without permission. If the artist releases it on YouTube or as promotional content later, I’ll make sure to share it here.

Until next time, see you in my next post! 😊

Pulsar Audio Vocal Studio Launch

Hey there! I’m Jooyoung Kim, a mixing engineer, and music producer.

It’s been a whirlwind week with listening experiments, live performance recordings, and mixing, so I haven’t had much time to focus on the blog… haha. I worked on a pretty unconventional setup for a recent gig—more on that in the next post!

Today, I’m excited to introduce Pulsar Audio’s Vocal Studio, a new plugin designed specifically for vocals, brought to you thanks to Plugin Boutique.

If you purchase through the link on my blog, I’ll earn a small commission, which really helps me keep things going… thank you! 😊

Ready to check it out? Let’s dive in!

What’s Pulsar Vocal Studio?

Click image to purchase Pulsar Audio Vocal Studio

Think of this as an all-in-one vocal effect and channel strip. It’s packed with everything you need: compression, EQ, gain, saturator, gate, de-esser, delay, reverb—you name it, it’s here.

Top Section

Let’s break down the controls in the Top Section of the Pulsar Vocal Studio interface:

  1. Sensitivity: Automatically adjusts volume to maintain consistent levels, working independently of the compressor.
  2. Drive: A saturator offering three distinct flavors—Solid State (inspired by Neve-style circuits), Tube (emulating a pentode preamp), and Germanium (mimicking a germanium transistor preamp).
  3. De-ess: Reduces sibilance by attenuating frequencies around 4kHz and above.
  4. Gate: Exactly what it sounds like—a gate! 😄
  5. Compress: Offers three compression modes—Natural (FET-based, smooth and transparent), Modern (faster attack/release with added saturation), and Gritty (the fastest and most aggressive for a bold effect).
  6. Volume: Adjusts the final output level of the plugin.

Mid-Section

On the left, you’ve got controls for how much EQ to apply. On the right, the Focus section offers three dynamic EQ presets: Air, Edge, and Presence.

Bottom Section

Down below, the Special FX section lets you add creative effects.

  • Delay: Includes standard delay, ping-pong, slap delay, and more.
  • Reverb: Offers a wide range of types—hall, plate, spring, room, chamber, ambience, you name it.

All delay and reverb parameters are fully tweakable, of course.

Impressions

This plugin is a bit heavy on CPU due to its many effects, but if you think of it as a one-stop shop for an entire vocal track, it’s well worth it. Personally, I think the reverbs are so clean and polished that I’d love to see them sold separately at a lower price. They’re some of the best digital reverbs I’ve come across!

Purchase Pursar audio Vocal Studio at Plugin Boutique

Bonus Deal!

This month, if you buy any plugin from Plugin Boutique, you’ll get Wave Alchemy’s Pulse—a faithful recreation of the Lexicon PCM-60 reverb—for free. Don’t miss out!

If you’re in the market for a vocal channel strip, Pulsar Vocal Studio is definitely worth checking out.

Catch you in the next post! 😊

Basics of Synthesizers (3) – Additive Synthesis

Hey there! I’m Jooyoung Kim, a mixing engineer and music producer.

Lately, I’ve been drowning in code.
The program I mentioned in my last update? Yeah, I totally messed up the THD measurement part by mixing it up with the standard crosstalk measurement method. So, I had to scrap everything, re-measure the data, and start over. It’s been taking way longer than expected, and I’m exhausted, haha.

Because of this, my blog posts have been delayed quite a bit.
Thankfully, I wrapped up the measurements this morning, so now I can just tinker with the program whenever I have some spare time.

Anyway, today I want to dive into additive synthesis, continuing our series on synthesizer basics after covering subtractive synthesis last time.

Just a heads-up: the virtual instrument links I recommend throughout this post are affiliated with Plugin Boutique. If you purchase through those links, I earn a small commission, which really helps me keep the lights on. Thanks for the support! 🙂

Let’s get started!

Additive synthesis, as the name suggests, is all about combining sounds to create something new.
The earliest instruments to use this method were the Telharmonium and the Hammond Organ.

These instruments had built-in tone generators called tone wheels, designed to produce specific sounds when you pressed a key.

If you’ve ever seen a Hammond Organ, you’ve probably noticed its drawbars. These let you control how loud or soft the fundamental tone and its harmonics are played. By adjusting them, you could mix the sounds from multiple tone wheels to create a wide range of timbres.

In a way, you could call the Hammond Organ an early mechanical analog synthesizer based on additive synthesis. That said, it’s a bit different from the subtractive synthesis we typically talk about today, right?

When it comes to virtual Hammond Organ plugins, I think IK Multimedia’s Hammond B-3X and Arturia’s B-3 V are the top dogs.
During this summer sale, IK Multimedia’s Total VI MAX bundle, which includes Hammond B-3X, is an absolute steal. Honestly, if you’re thinking about getting just the Hammond B-3X, you might as well grab the whole bundle—it’s super versatile and worth it.

Now, let’s get a bit technical for a moment.

According to the Fourier Series, any periodic signal (like a sound wave) can be expressed as a sum of sine waves:

The Fourier Transform takes this further, allowing even non-periodic signals to be represented as a sum of sine waves:

In theory, this means you can recreate any sound just by combining sine waves.

Sounds like a ton of manual work, right?

Back in the day, not only were these calculations a nightmare, but even playing multiple sounds simultaneously through sampling was a challenge for early computers. That’s why additive synthesis evolved alongside advancements in computing power.

A standout product from this transitional period is the Fairlight CMI.
This beast wasn’t just an additive synthesis synthesizer—it was also a DAW and a sampler.

The panel on the right in the photo is the DAW interface, complete with a stylus for tapping out rhythms on the screen. Pretty cool, right?

One of the Fairlight CMI’s built-in samples, called Orchestra Hit, became iconic in pop and hip-hop. It’s a short orchestral tutti sound from Stravinsky’s The Firebird. Using it in a track instantly gives off that classic 80s–90s old-school vibe.

Arturia’s CMI V plugin does an incredible job of recreating the Fairlight CMI’s interface, complete with its early DAW and mixer windows. It’s a lot of fun to play around with!

Another notable instrument from this era is New England Digital’s Synclavier, which combined FM synthesis and additive synthesis while also functioning as a DAW and sampler. Originally licensed by Yamaha for FM synthesis, by version II, it basically became a full-fledged computer, haha.

Arturia’s got a plugin for this one too. They’re really out here trying to recreate every classic synthesizer as a plugin, aren’t they?

You might’ve noticed by now that additive synthesis is deeply tied to samplers and DAWs. After all, when you layer different sounds at the same time in a modern DAW, you’re essentially using it as a sampler and an additive synthesis synthesizer.

As technology progressed, synthesizers started incorporating wavetable synthesis, allowing for even more precise and varied sound design.

Explaining how to use a specific additive synthesis synthesizer is a bit tricky because it’s really just about layering sounds, using samplers, and working in a DAW. So, I hope this brief history gives you a good sense of it!

That’s all for now—see you in the next post!