Mick Sawaguchi (UNAMAS Label)
Introduction
With the widespread adoption of DAWs, a workflow known as "in-the-box" mixing—where every function is handled entirely within the DAW—has become the standard. Consequently, audio processors and effects units that were once exclusively hardware-based are increasingly being converted into software. In this article, I will introduce plug-ins used primarily by sound designers for surround and immersive audio projects, rather than for standard 2-channel stereo. Some of you may already be proficient with these tools; if so, please bear with any redundant information.
⚫️ Immersive-Reverbs
capable of handling multi-channel configurations—such as 8, 12, 16, or even 48 channels—have emerged, moving beyond the limitations of traditional 2-channel stereo. This is likely a response to the growing demand for Dolby Atmos mixing.
* Equinox
For many years, I have used Stratus 3D—an immersive-capable plugin from Exponential Audio (now part of iZotope). In 2026, it received a major upgrade and was rebranded as "Equinox." It supports up to 16 channels. True to the iZotope style, it offers a wide range of parameters, allowing for precise fine-tuning of the sound. A key practical advantage of Stratus 3D is its very low CPU load, which ensures smooth operation. Furthermore, when you set up an AUX send bus within your DAW mixer, the plugin automatically configures the immersive channels to match the number of buses. This low CPU demand is a crucial factor for maintaining smooth performance; it is particularly important to keep an eye on this, as some modern immersive plugins—especially those that rely on convolution data—can occasionally cause the system to freeze during a mix-down.
*DSpatial Reverb:
A Reverb Plug-in Supporting Up to 48 Channels via IR Convolution Technology Based in Barcelona, Spain, DSpatial is a manufacturer specializing in immersive technology and spatial acoustic analysis. Their software is designed exclusively for Mac and offers exceptional flexibility, supporting a wide range of formats—including Atmos, Auro-3D, and binaural, as well as various surround configurations (5.1, 6.1, 7.1, 9.1, 11.1, 13.1, and 15.1)—for a total of up to 48 channels.
*Reality 2.0:
acoustic spaces for a wide variety of sound sources—from subtle ambient environments to vast,
expansive settings.
A major advantage is the ability to place multiple audio elements into a desired space simultaneously,
allowing for a complete, one-stop workflow.
*Accentize:
Chameleon Immersive Reverb From Accentize—a company founded in 2019—comes an immersive
reverb plug-in that supports configurations up to 9.1.6 (16 channels). Its standout feature is its ability to
deliver natural spatial reproduction by utilizing impulse response (IR) technology to simulate a wide
variety of acoustic environments.
*Acon Digital Verberate
Immersive Spatial reproduction using IR-convolution technology is highly CPU-intensive; without a
high-speed, high-capacity processor, it can cause the system to freeze during operation. This software is
notable for its lightweight performance and supports configurations up to 9.1.6 (16 channels).
*Inspired Acoustics – Inspirate
This product, which could be described as the culmination of IR-convolution technology, consists of
samples captured from a wide variety of spaces—including world-renowned concert halls—and
supports configurations of up to 22.2 channels. I am curious to see how much CPU load it generates
during actual operation.
*Nugen Audio Paragon
From Nugen Audio—a company that gained recognition for its loudness metering tools—comes this
immersive-ready reverb. It features a practical design and supports up to 12 channels (7.1.4
configuration).
*LiquidSonics Cinematic Rooms Pro
An ambience reverb designed primarily for film and post-production.
⚫️ Restoration Software
Production sound recorded on set often contains various types of noise in addition to the dialogue.
Furthermore, when recording sound effects, one could say that the modern environment is saturated
with ambient noise. Restoration software is used to remove such unwanted noise and repair audio. In
this field, plugins capable of processing multiple channels simultaneously—moving beyond the
traditional 2-channel (stereo) approach—have now emerged.
*iZotope RX-12
This is a standard, widely-used restoration software, now evolved to version RX-12. A major
advantage is its ability to perform targeted noise removal by utilizing a wide range of adjustable
parameters.
*Retouch by CEDAR Audio
CEDAR Audio, founded in Cambridge, UK, traces its origins to 1983. At that time, the National Sound
Archive (part of the British Library) began exploring methods to digitally preserve damaged 78 rpm
records and aging magnetic tapes by removing click and hiss noise. This initiative led to a collaborative
research project with the Signal Processing and Communications Laboratory at the University of
Cambridge, under the leadership of Professor Peter Rayner. To commercialize the results of this
research, CEDAR Audio Ltd. was established in Cambridge in 1989. With a 40-year history—
extending through 2026—the company stands as a long-established developer of plug-in software.
Retouch is a restoration tool that I personally use and favor, largely because its parameters are
remarkably simple. Another significant advantage is its ability to process up to eight channels of audio
simultaneously, making it an excellent choice for the restoration of surround-sound recordings.
*DNS-2 -8
While not a plugin, there are hardware devices capable of reducing ambient noise and background
noise in real time during field recording. Products are available—ranging from 2-channel to 8-channel
units—that are well-suited for real-time recording scenarios such as lectures, location shoots, or street
interviews.
*Accentize dxRevive Pro
This is a restoration and noise-reduction tool designed specifically for dialogue editing. Rather than
relying on traditional formant analysis, it employs a new technology based on AI-driven analysis. The
software—from the same developer behind the Emmy Award-winning "Chameleon" (a reverb-
matching tool)—not only handles restoration but also matches the acoustic characteristics of on-set
dialogue with ADR (Automated Dialogue Replacement), ensuring a seamless and natural transition
between them. This functionality can also be applied to on-set sound effects and Foley recordings,
helping to create a cohesive sonic environment. While its role may seem subtle at first glance, it is an
incredibly valuable asset in the post-production workflow.
⚫️ LFE Processor
An LFE processor is used to add impact to an original audio signal. The dbx 120-A has long been a classic piece of hardware for this purpose, but it is now discontinued and difficult to acquire.
Software alternatives have since emerged that can generate low-frequency content—specifically one to two octaves below the original signal.
*Waves Submarine and Lo-air
These are LFE synthesizers with simple, straightforward controls. Lo-air, in particular, is notable for its ability to handle a wide range of source material, from mono and stereo to 5.1-channel audio.
*Rootone by Leapwing
Although designed for 2-channel music, this unit also serves as an effective LFE synthesizer. It is structured to mix the original audio with an LFE signal; however, in my own workflow, I mute the original audio and extract only the LFE component.
⚫️ Pitch Processing and Delay with Immersive Audio
*ZPLANE elastique pitch 2.5
This is an intriguing plug-in that allows for real-time pitch adjustment and supports immersive audio
formats. The ability to alter pitch in real time is highly beneficial for sound design, and the plug-in
supports an output of up to 16 channels.
*CARGO CULT SLAPPER 3.0 Multi-tap Delay
This delay plug-in supports up to 16 channels (9.1.6 configuration) for immersive audio. It is well-
suited for tasks such as managing discrete surround sources, creating movement (flyovers), and
processing sound effects (SFX).
⚫️ Immersive-Ready Peak Limiters and Loudness Meters
Flux Audio EVO
It is a plug-in manufacturer founded in France in 2006, which initially developed bundled software for Merging Technologies. Long before immersive audio gained widespread attention, FLUX had already built a robust lineup of plug-ins supporting 8 to 16 channels; for instance, the EVO series—including its EQs and compressors TP limiter—supports configurations of up to 16 channels.
For content delivery in particular, it is essential to manage loudness and True Peak levels in accordance with the requirements of the specific medium. Relying solely on standard peak meters can often lead to overlooking True Peak values that exceed the permitted limits; therefore, using loudness measurement tools and True Peak limiters—including those that support immersive audio—is both highly beneficial and provides peace of mind.
◉ For your reference, here is the latest list of loudness and True Peak specifications for various streaming and distribution platforms.
