We make tools we need but don't exist. Yet.
Marker: Session notes for Pro Tools,
reimagined.
Write notes into markers or whole clips in a Pro Tools session, and collaborate with remote access to make project review smoother and faster.
Scraper: Every moment recorded,
so you never miss a take.
An AAX, VST3, and AU plugin that continuously records every moment. Select and export exactly what you need, with timeline-accurate metadata, from mono to 9.1.6 immersive.
Synchronicity: Two selections,
one press of SYNC.
Synchronicity is an AudioSuite plug-in for Pro Tools, made for Foley editors, SFX editors and sound designers. Swap out or layer footsteps, punches and gunshots without placing them one by one.
Undertone 2: Room tone from the take
you already have.
Load a dialogue take. Undertone 2 picks out the parts where nobody speaks and resynthesises them into room tone that runs as long as the scene needs. Load more sounds and build whole soundscapes from them.
DragOut 2: Multi-channel audio export
for Pro Tools.
Exporting audio from Pro Tools used to feel like a drag – now it really is one! Select your tracks and timeline, then export without bouncing. Send it to Finder, another DAW, WeTransfer, or anywhere you need it.
Undertone Lite: Create dialogue fills
easily.
Undertone Lite gives you a quick and easy way to create dialogue fills from samples or existing audio, with easy integration (VST/AU/AAX/AudioSuite).
In their own words.
Undertone is my favourite tool for creating dialogue fills. It sounds more natural than anything else I have tried.
Dustin HarrisSupervising sound editorThe Handmaid's Tale, The Expanse, Locke and Key
Undertone has become an invaluable tool in my effects editorial and design arsenal. In many instances, I am able to take a handful of seemingly ordinary sounds and create unique beds with extraordinary movement, characteristics, and, at times, emotion.
Andrew TwiteSound designerEverything Everywhere All at Once, Star Trek: Discovery
Undertone is now an essential in my dialogue-editing toolbox – for creating a clean fill, a fill with movement in it, for continuing big noises such as planes or car noise which is often hard to fill, for elongating screams – you name it. And it is a must-have for creating DX sessions for M and E too. Strongly recommended!
Michael MaroussasSupervising dialogue editorChernobyl, Black Mirror, Darkest Hour
The grown up kids at Audiokids have enclosed two of my desert island DSP tools – granulation and convolution – in a unique and friendly device. Once you have started using Undertone, it is addictive – primarily for the tiny but important tasks such as creating air fills for dialogue tracks.
Matteo MilaniSound designer and founderUnidentified Sound Object
Drag Out 2 is a genuinely helpful piece of software that should not be underestimated. I use it frequently in my work.
Robin GreenSound editorOrbital, Feardotcom
DragOut 2 has become one of my must-have plugins. It is a fast and effortless way to mix down multiple audio clips without the need for bouncing.
Tony GibsonSound editorSAS: Rogue Heroes, Extraordinary, Patrick Melrose, Misfits
Synchronicity has been a huge time-saver – it has streamlined my workflow and really pushed me towards more creative experimentation. I am cutting in more layers and trying things out more than I used to.
Enos DesjardinsSound editorMission: Impossible – The Final Reckoning, Black Mirror, Lockwood & Co.
This will save time when building complicated SFX stacks and is essential for syncing multiple elements.
Jason BrennanSound editorThe Contract, Faster, Harsh Times
Synchronicity was helpful with designing and cutting UI, telemetry, and tech in Alien: Earth. It made syncing multiple layers fast and intuitive.
Justin DaveySound editorA Quiet Place, Spider-Man: No Way Home
This thing is going to be vaulted into the high realm of, I keep these AudioSuite plugins open at all times on my second monitor.