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Fuse Audio Labs was founded in 2017 by Reimund Dratwa who has an experience of many years working for different big names in the audio business during which he created dozens of renowned analog modeling titles. It was initially intended as an engineering company that works for various partners, but it soon became apparent that it could also serve as a channel for our own ideas and allow us to pursue our vision. The same expertise that went into the aforementioned products goes into everything that we create.

Products by Fuse Audio Labs

Latest reviews of Fuse Audio Labs products

VREV-305 Vintage Spring Reverb
Reviewed By Faydit
September 23rd, 2022

I already have been positively surprised by the quality of the VREV-666, which is freeware and is already a really beautiful and great sounding (studio) spring reverb (simulation).

The VREV-305 seems to be some sort of "bigger brother", a true stereo spring reverb with the luxury of two separate 6 spring units, which therefore are capable of sounding more dense and intense, at the same time also more complex and elegant than eg. a typical spring reverb in a vintage (guitar) amp with two or three springs.

Therefore, if you look for these typical, extremely twangy, dirty surf guitar spring reverb sounds, there may be - a few - better alternatives available (a few less in this quality), but if you look for excellently adjustable, more elegant sounding reverb sounds with nevertheless this unique spring reverb character, which is capable of closing the gap between a more simple, cheaper built spring reverb and a plate reverb, this plugin might be the right choice.

Adjustable Decay and Pre-Delay time enable a lot of very different reverbs, which can be additionally altered with the four band equalizations.

Sounds great with guitar or bass, maybe even better with vocals, synthesizers, drums and a lot of other audio sources, but also can equally well be used for mastering, I think.

All useful and necessary controls are accessible, as much as a linking or independent adjustment of the two channels. I personally like to unlink them and adjust them differently, which adds some additional vividness and organic character to the final signal, which anyway already sounds top notch, at least to me.

Fuse Audio Labs offers a fully functional 14-days trial version, so you can test and check the plugin without any annoying noise or other limitations for some while.

The Intro Price makes it a bargain for the quality, although the regular price still is quite fair, I think.

I already have some - more or less - good sounding spring reverb plugins, also a lot of spring reverb IR's for convolution reverbs, but if I had to decide for a single one, I think, this one would be my choice, as more decent settings sound equally good as very intense ones.

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VCS-1 All-In Channel Strip
Reviewed By Stoffel11
April 18th, 2022

As being a zero latency plugin it is doing a great job as mastering fx in my gig performer live setup on stage.

Rock solid and good sounding.

One of the rare zero latency plugins for use in live situations.

Thanx to Fuse Audio Labs.

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TCS-68 Cassette Tape Channel
Reviewed By weilhalt
September 29th, 2021

Worls like a charm, does what it says. Nice. Worls like a charm, does what it says. Nice. Very nice.

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Cool plugin for mixing & mastering, dynamicsly it's glue things together on the master buss, groups, & individually Channels. I'm love this plugin 64, easy to use effect VST plugin for gluing mixes together with clarity to give you more life to your mix buss tracks. but great for mastering.

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This plugin does only one thing, but it does so with great gusto. To call it a 'colour box' would be absolutely accurate but strangely under-selling it. It sounds fantastic.

Slightly oily vintage grit WITHOUT, and this is an important rarity, WITHOUT all the treble frequencies smeared or filtered out. A detailed circuit simulation of a hi-quality old pre-amp from the 60s which has a nearly flat frequency response all the way up to 20kHz, but which provides fascinating colour.

In pre-amp mode, when pushed, there is just a hint of peppery bitterness from (i THINK) the crossover distortion.

In high-gain PA mode, the output is routed back to attenuate the push-pull stage, removing the "pepper," thundering up the sound and—when pushed—adding some great, really rattly overdrive, and making basses chug without making them at all muddy.

currently, however, my primary use for it is a bit niche. there are two(!) modeled inputs, a buffered input for microphones and a secondary aux input which was originally for turntables. i'm using the aux-in to punch up the fake record scratches i make with cableguys time-shaper. it makes them sizzle and jump and sound a lot more 'alive' than they do coming straight out of cable-guys itself.

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