IK Multimedia’s MixBox channel strip plugin promises “all the FX you need in one rack”

IK Multimedia has cherry-picked some of the finest effects from its T-RackS, AmpliTube and SampleTank ranges and stuffed them into MixBox, a new 500-series style channel strip plugin.

The theory is that, by having all of their essential effects in one customisable rack, producers will be able to mix faster and more efficiently, but without compromising on quality. All processors in the rack are viewed from a single window, with all controls visible at the same time.

MixBox includes 70 processors from IK’s back catalogue, plus four brand-new reverb algorithms. In addition, there are more than 600 individual processor and whole-chain presets that cover different use cases, styles and genres.

Of course, these are just starting points: you can also create and save your own 8-slot custom channel strips, with drag ‘n’ drop routing and more advanced controls such as wet/dry mix, sidechaining and individual processor gain.

IK Multimedia MixBox

(Image credit: IK Multimedia)

The processors are modelled on classic analogue and digital studio hardware. As well as the standard EQ, dynamics and other channel strip processors, the line-up also covers filters, modulation, saturation, reverbs, delays, distortion and amps.

As well as operating as a VST/AU/AAX plugin within your DAW, MixBox can also run standalone and be used in a live setting. 

MixBox is available now for PC and Mac for the introductory price of $200/£160/€200 (the regular price will be $300/€300). Existing owners of any registered IK product that retails for $99/€99 or more can purchase MixBox for an introductory crossgrade price of $150/€150 (regular crossgrade pricing will be $200/€200).

Find out more on the IK Multimedia website.

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Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.