PSPaudioware’s Infinistrip WIND is an incredible channel strip plugin with (almost) infinite configurations. It’s highly recommended by Grammy-winning producers and mixers, looks sharp, and gives you brilliant results. Let’s dive into the different settings to see what makes this plugin so fantastic.
There are so many great features that sound amazing, plus you have a huge preset library for different chains as well as the individual modules. Easy to control and configure, so you can quickly establish a good workflow.
PSPaudioware has obviously put a lot of work into designing a plugin that gives you that great analog warmth and coloration but has also worked in some digital vibes that don’t feel out of place.
A great-looking plugin that is really simple to use. The only issue is with changing between View modes, as on some computers the interface becomes too large and can’t be changed because the option is out of view.
Value For Money
This plugin is well worth the cost. It has so many fantastic plugins built into one that you’ll barely need any other processors (apart from effects like reverb, delay, etc.).
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Let’s start with what gives the Infinistrip such a great and varied sound. There are eight modules that can be added to and removed from the strip, as well as reordered. They are:
Each of these individual modules sounds great on its own. Nearly all of them have extra configurations, depending on the sound you’re aiming for. They all come with presets to get you started, as well as presets for different groups of modules. Let’s take a look through each one.
The preamps are a great example to show off the many different settings. There’s a configuration for pure gain, as well as the 60s, 70s, 80s, and 90s style preamps.
These five starting points are going to shape your sound right away. If you’re looking for a classic vibe, try the 60s and 70s style preamps. For something a little more digital sounding, the ADC (analog to digital converter) 90s setting is what you’re after.
What sticks out most to me of these five preamps is the Drive knob, especially on the 80s setting. It gives you some extra harmonics that stick out without being too harsh and really fills up the sound, whether on drums, guitar, bass, etc. The 70s preamp sounds good too but is slightly more subtle.
And the 90s setting can be a bit over the top but in a good way. If you work mostly on electronic music, the 12-bit converter drive sounds great.
There are three filters that are really easy to use: Basic, Pro, and S.C. (sidechain). The Basic only has high and low pass filters on which you can quickly set the frequency and choose between three different dB/oct. settings. The Pro configuration gives you the basic filters plus a parametric. S.C. is the same but with the ability to sidechain the signal.
I found these all fantastic to sculpt the sound of the signal quickly. A simple drum beat is easily manipulated to boost and cut whatever you need. And the S.C. filter really rounds off the bass to give you great low-end with some sharp attack using the LPF and parametric options.
Here you have the basic knobs for gates, expanders, and duckers: attack, release, hold, and threshold. You also have shape and range knobs, plus LPF and HPF. It’s a pretty standard setup on this strip, and it can work well in conjunction with some other features.
I would definitely say that the Expander surprised me the most. This is such an incredible tool for working on drum beats. If you have a sample with a lot of room sound, the expander will tighten it up, making it really punchy. Add an aggressive compressor to the chain, and you’ll have a monster beat.
There are three classic compressor styles to choose from here: Opto, FET, and VCA. The Opto-compressor seems to be the subtlest of the three and goes well with softer vocals. The FET and VCA compressors give you harsher results. They all come with presets, ranging from soft compression to destructor and parallel modes.
A handy addition is the HPF so that you can adjust the internal sidechain up to 1kHz. This gives you some nice control over the low-end so as not to make the signal too boomy, keeping some clarity. Apart from that, these are standard compressors with nice tones, which can easily handle anything from calmer vibes to heavy compression.
Other three nice options, this time for equalizing: ChannelQ and RetroQ, which both have two shelves and two bells, and PreQursor, which doesn’t include any shelving options, just four bell curves. The four bands can be turned on and off and overlap on some frequencies to give you amazing amounts of settings.
PSPaudioware suggests using the PreQursor for acoustic instruments, and they’re right. It gives acoustic guitar a fuller sound without being too harsh. Using the same preset on the RetroQ is a bit too strident in some cases.
However, on a country/western style electric guitar, the RetroQ sounds amazing, especially when coupled with the 70s-style preamp.
The Infinistrip’s limiters are surprisingly versatile. Once you try them, you’ll never touch your stock plugins again. Three of the four configurations come with standard parameters like attack, release, ceiling, and output, while the last one, the Saturator, adds so much color to your mix.
There’s a Brickwall setting, which does exactly what it’s meant to: it keeps the highest peaks down, no matter how hard they try to get through. It’s a really harsh setting which gives you plenty of digital-sounding coloration. I wouldn’t use it often, only if I wanted to squash some heavy EDM breakbeats.
The Opto and VCA limiters are a lot more subtle than the Brickwall. I’d lean towards the Opto for acoustic instruments, while the VCA sounds fantastic on punk-rock bass and guitars. These two both come with the sidechain HPF like the compressors, so you have more control over the amount of low-end that is affected.
The Saturator is what stands out the most of the four. It gives you control over the smoothness and shape of the saturation, so you can go for more digital or analog results, plus select between valve, tape, or clipping sounds.
You get one Master Control strip which gives you power over the gain level of the whole channel. Of course, gain staging through the whole process is very important, but this can give you more control to tighten things up at the end of the chain.
A great part of this plugin is the Width knob at the top, which lets you manipulate the stereo field. Bring it down to zero for mono, or turn it up to 200 for some extra width. The RMS and Peak meters also come in handy for staying on top of the leveling.
Let’s finish up with three special modules. There’s the De-esser, De-hummer, and ReactivEQ. They’re all very distinct within the one category, unlike the other modules we’ve seen so far.
The de-esser is a pretty standard sibilant compressor. You find the harshest frequency, set the Q, and select how much compression you want. It can be highly sensitive with the right adjustments, especially with the choice between 2:1 and 4:1 ratios, plus the option for full-band and split-band modes.
The de-hummer removes some noise that can invade your signal while recording. It’s also useful for reducing any hum that might come up with compression. An interesting touch is the possibility to go between 50Hz and 60Hz, which are the frequencies used in electric power standards depending on where in the globe you are.
Finally, the ReactivEQ is a dynamic equalizer that can give you some crazy effects when used creatively. Once you set the threshold, you can control how the gain will be affected above and below that level. For example, you can cut the gain when it goes above the threshold but boost it when it comes back down. It can give you some amazing choppy transitions on drums when used right.
Using the Full Channel Strip
All of the modules that have been mentioned so far sound fantastic. There are some that stick out more than others for their creative possibilities and sonic results, like the Saturator, the Pro Filters, and the Expander. However, even the more basic modules like the De-esser and the Master Control are perfect tools for shaping your signal and supersede many other plugins of their kind.
Once you start putting some (or all) of these functionalities together, the opportunities become even more exciting. There are 254 presets included in Infinistrip, and you can add your own as you explore.
Even if you could only use the modules in the order they come in by default, the result would still be one of the best plugins on the market. However, the chance to reorder them all into any sequence you want is why this is called the Infinistrip.
There are even a few extra strips that can be used for any of the modules in the plugin. So if you want a couple of preamps running together, why not? Three brickwall limiters one after the other? Go for it. The possibilities really do seem endless.
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Irish-Portuguese writer and musician. Experience in producing, recording, and mixing, as well as writing reviews and how-tos on plugins, gear, and software.