滤波器Satori Channel v1.0.2 [WiN]

P2P | 15 October 2026 | 35.7 MB

Satori Channel。混音清晰呈现的瞬间。
滤波器。门限。九种饱和度模式。压缩。瞬态塑形。音乐均衡。齿音消除。立体声生成。心理声学声像定位。削波。限制。您的整个处理链，整合到一个专注且音乐化的工作流程中。

并非又一个控制台条。
传统的通道条止步于滤波器、门限、均衡、压缩和少量模拟音色。您仍然需要
在此基础上叠加饱和器、瞬态塑形器、齿音消除器、立体声工具、削波器和限制器。Satori

Channel 的设计目标是成为大多数音轨所需的唯一插件——快速获得顶级音色。

模拟思维。现代工作流程。
许多现代通道条让 AI 来决定您的声音需要什么。Satori Channel 则不然：每个处理器都
基于经典模拟链的运行机制构建，每个模块都经过精心调校，让您从第一次触碰就能感受到音乐性
——最佳状态触手可及。

选择音色。设置强度。塑造结果。

九种饱和度色彩。一键即可拥有。
九种截然不同的模拟风格模式——从柔和温暖到狂野失真，应有尽有。选择电路，
通过 Drive 和 Mix 旋钮进行调节，再利用专用的 Hiqh Cut 和 Resonance 旋钮进行塑形。Ed

饱和模式：
干净、流畅的前级音色，采用大变压器。最柔和的模式——适用于任何音源。Bruce

饱和模式：
现代混合 A 类电路音色。紧致、干净、有力，不带任何柔化效果。Bob

饱和模式：
复古锗晶体管的温暖音色。柔和圆润的低频和略带朦胧感的高频。Jack

饱和模式：
大铁变压器驱动。为低频增添厚重感和冲击力。Dave

饱和模式
：卷盘磁带式饱和效果。使声音更加饱满，柔化刺耳的峰值。Andrew

饱和模式：
单电子管特性，音色醇厚，中频突出。适合增强临场感。Andy

饱和模式：
三电子管温暖饱满的音色，采用高压电源。音色厚实，对人声友好。Joey

饱和模式：
功率管驱动，音量最大，最具侵略性。最响亮、最具冲击力的电子管音色。

Terry饱和模式，
固态过载，带二极管削波。粗粝而尖锐——非常适合鼓和吉他。

塑造和完善声音所需的一切
，几乎所有功能都可并行工作——每个模块都有自己的混音控制。

滤波器：
灵活的低切和高切滤波器，具有两种模拟行为——经典调音台风格和DJ混音器风格。

门限
控制：噪声、串音和不需要的尾音：可调节灵敏度、三种释放模式和并行混音。

压缩
量和混音——两个直接控制。内部结构：双级设计（慢速+快速压缩器）、侧链
滤波器和瞬态冲击。Slam 功能增加了一个泵感式压缩器。

均衡器和空气感
：两个经典的模拟均衡器：一个仿照老式英国调音台的三段均衡器，以及一个来自
著名母带均衡器的空气感频段——外加两个用于消除浑浊和共振的陷波滤波器。可并联工作。齿音消除

器：可
直接控制频率、灵敏度和并联混音。监听模式可隔离问题区域；
衰减表可精确显示应用的衰减量。

宽度、立体声化和哈斯声像
定位器：立体声化功能利用磁带漂移时间和音调
变化，将单声道转换为宽广、动态的立体声像——兼容单声道。此外，还包含立体声扩展器、低频单声道转换器、相位翻转、左右声道互换和哈斯声像定位器。

削波器
：捕捉尖锐的瞬态：并联混音、可调节的削波上限和清晰的电平表，可精确显示
信号受到的影响。

限制器和电平匹配：
完善信号链：可选择的输出上限、输入驱动和增益衰减表。内置电平匹配功能
可在感知响度相同的情况下比较处理后的信号和原始信号——判断的是处理效果，而非音量大小。

手工打造的预设
并非普通的填充预设库——每个预设都针对所有主要乐器（包括原声乐器和
电子乐器）进行了手工调校。只需选择一个预设，整个信号链即可达到理想的音乐状态。

工作流程中内置并行处理功能
，门限、饱和度、压缩、均衡、齿音消除和削波均拥有独立的混音控制——
无需额外的总线或重复音轨即可实现并行处理。各个模块的旁通功能可实现
即时、准确的对比。

完整的现代通道，
而非处理器的随意组合。

Satori Channel. The Moment Mixing Becomes Clear.
Filters. Gate. Nine saturation modes. Compression. Transient shaping. Musical EQ. De-essing. Stereo generation. Psychoacoustic panning. Clipping. Limiting. Your entire processing chain, brought into one focused, musical workflow.

Not Another Console Strip
Traditional channel strips stop at filters, gate, EQ, compression and a little analog color. You still stack a
saturator, transient shaper, de-esser, stereo tool, clipper and limiter on top.

Satori Channel was built to be the only plugin most tracks need – to get a top sound fast.

Analog Thinking. Modern Workflow.
Many modern strips let AI decide what your sound needs. Satori Channel does not: every processor is built
on the behavior of classic analog chains, and every module is tuned to sound musical from the first
touch – the sweet spot is already under your fingertips.

Choose the character. Set the amount. Shape the result.

Nine Saturation Colors. One Click Away.
Nine distinct analog-inspired modes – from subtle warmth to aggressive destruction. Choose a circuit, dial
in with Drive and Mix, shape with dedicated High Cut and resonance.

Ed saturation mode
Clean, smooth preamp color with big transformers. The gentlest mode – safe on anything.

Bruce saturation mode
Modern hybrid Class-A color. Tight, clean and punchy with no softening.

Bob saturation mode
Vintage germanium transistor glow. Soft, rounded lows and a slightly hazy top.

Jack saturation mode
Big iron transformer drive. Adds weight and punch to the low end.

Dave saturation mode
Reel-to-reel tape saturation. Glues the sound and softens harsh peaks.

Andrew saturation mode
Single-tube character with a woody, midrange-forward tone. Good for adding presence.

Andy saturation mode
Rich three-tube warmth with a high-voltage supply. Thick and forgiving on vocals.

Joey saturation mode
Power-tube drive pushed hard. The loudest, most aggressive tube flavor.

Terry saturation mode
Solid-state overdrive with diode clipping. Gritty and edgy – great on drums and guitars.

Everything You Need to Shape and Finish a Sound
And almost everything works in parallel – each module has its own Mix control.

Filters
Flexible Low Cut and High Cut filters with two modeled behaviors – classic console and DJ-mixer style.

Gate
Control noise, bleed and unwanted tails: adjustable sensitivity, three release modes and parallel Mix.

Compressor
Amount and Mix – two immediate controls. Inside: a double-stage design (slow + fast compressors), sidechain
filter and Transient Punch. Slam adds a third, pumping stressor-type compressor.

EQ & Air
Two classic analog EQs: a three-band section modeled after a vintage British console and an Air band from a
famous mastering EQ – plus two notch filters for mud and resonances. Works in parallel.

De-Esser
Direct control over frequency, sensitivity and parallel Mix. Listen mode isolates the problem area; the
reduction meter shows exactly how much is applied.

Width, Stereoize & Haas Panner
Stereoize turns mono into a spacious, moving stereo image using tape-drift timing and pitch
variations – mono-compatible. Plus a stereo expander, LF mono maker, Phase Flip, L-R Swap and a Haas panner.

Clipper
Catch sharp transients: parallel Mix, adjustable Clip Ceiling and clear metering that shows exactly how the
signal is being affected.

Limiter & Level Match
Finish the chain: selectable output ceilings, input drive, gain-reduction metering. Built-in Level Match
compares processed and original at equal perceived loudness – judge the processing, not the volume.

Hand-Crafted Presets
Not the usual filler bank – every preset is dialed in by hand for all the main instruments, acoustic and
electronic. Pick one, and the whole chain is already in a musical place.

Parallel Processing Built Into the Workflow
Gate, saturation, compression, EQ, de-essing and clipping each have their own Mix control – parallel
processing without extra buses or duplicate tracks. Individual module bypasses make honest comparisons
instant.

A Complete Modern Channel
Not a random collection of processors