sinemill
SOUND DESIGN TOOLS
Most plug-ins are polite. These are not. They wander, they smear, they run hot, and one of them is built out of the sound of a 1998 game engine.
What they share is that nothing here is a preset pretending to be a machine. The wobble does not cycle. The room tone does not loop. The correction does not flatten the singer.
You are meant to leave them on and let them misbehave.
mix bus chain
Finished, not merely louder
sauce, drift, tone, character, clip and a limiter in the order you would have patched them anyway — so a mix comes out finished instead of merely louder.
- sauce
- character
- drift
- warmth, mid & air
pitch correction
tuned, and still unmistakably them.
a low-latency pitch corrector that tunes hard when you want it and stays natural when you don’t — without chewing through your cpu.
- retune
- humanize
- formant
- vibrato
Nothing here loops.
the wobble wanders instead of cycling. the room tone is generated rather than looped. two passes over the same bar will not come out the same way.
tape medium
every track on tape. no two machines alike.
a stereo tape medium for every track and the master at once. sixteen invented tapes, nine features that react to what you play, and a serial number that makes every copy its own machine.
- sixteen tapes
- nine features, live
- per-tape settings
- supply
29 eax spaces
The memory of a room
a reverb that makes anything sound like it is happening inside a 1998 PC game — the corridors, vents and flooded basements you remember from Half-Life.
- codec
- mix
info
Digital film audio is clean. Precise. Flawless. And sometimes that perfection feels hollow. Sinemill builds plugins that put something back — the small imperfections, the movement, the character. Tools that either speed up your workflow or mess it up in exactly the right way.
It’s the flaws that make something believable.
— BcA. Petr “Daftsins” Bušek