YOUR ENTIRE SAMPLE LIBRARY.HYPERCHARGED.

It is a sample manager. One app holds every sample pack you already own. Point it at your folders and drives and it reads the lot, works out what each file is, what key it is in and what tempo it runs at, then puts all of it behind one search box.

What makes it different is what happens when you press play. Turn on the two sync switches in the transport bar and every sound plays already repitched to your key and stretched to your tempo, so one listen tells you whether it fits rather than leaving you to imagine it.

You can also describe a sound in plain words instead of remembering its name, or ask for more like the one you just found. Both run on a model inside the app, with nothing uploaded. Underneath there is the Layer Deck, one click audio to MIDI, DAW sync, the Meter Deck, and an illustrated manual built in, in nine languages.

Two switches in the transport bar, Sync key and Sync tempo, do the whole job. Both ship off, so your very first listen is the pack exactly as its maker recorded it and nothing has been done to it behind your back.

Turn them on and every keyed sample repitches to your root key and every loop stretches to your BPM. Turn them off again any time you want to hear a pack the way it was made.

Your files are never moved, renamed or written to. HYPERCRATE reads your samples exactly where they already live and keeps what it works out in its own library, so your folder structure stays as it is. It reads WAV, AIFF, FLAC, OGG and MP3, plus MIDI files, and audio and MIDI sit side by side so a loop and its matching MIDI turn up together.

A drag out gives you the original by default: a bit for bit copy of what the producer shipped, nothing rendered, resampled or quietly degraded. Close the padlock in the toolbar and you get it rendered to your key and tempo instead, exactly as you heard it. Slices always arrive rendered as a 24 bit WAV, because a slice is part of a file rather than the whole file.

On first run a setup wizard asks where your sounds live and gives you three ways in: scan your drives and turn up every sample folder you have, point at folders yourself, or import a Splice library it has already found. It takes about a minute, and you can run it again from Settings.

After that, drop a folder onto the sidebar, or drop several at once. You can also right-click a folder in Explorer or Finder and send it straight in.

From then on the library keeps up on its own. Add, delete, move or rename anything in Explorer or Finder and the list follows within a second or two, with no rescan. Move or rename a whole pack folder and it is found again at its new home with its tags and favourites intact.

Indexing happens in two passes, so rows appear almost immediately and the key, tempo and waveform fill in behind you while you are already browsing.

Yes, and it tells you exactly how much. Every reading carries how confident HYPERCRATE is in it: one it is sure of is shown plainly, one it is only suggesting is dimmed and marked with a ~, and anything it reads as a one shot gets no tempo at all rather than a made up one. Nothing is ever presented as fact when it is a guess.

It reads the pack too. Where a producer has put the key and BPM in the file and folder names, HYPERCRATE trusts those over its own listening, because whoever made the sound knew what it was. One switch in Settings turns that off if you would rather it always listened for itself.

And you have the final word: right click any row and set the key, tempo or type yourself. What you set is permanent, and no future analysis overwrites it.

HYPERCRATE runs on its own and drags into any DAW. The three companion plugins are optional, and each does a different job.

Analyzer goes on your master bus and reads the tempo, beat grid and key of your project, so auditions arrive in time and in key. Sync goes on an empty audio track and returns those auditions through your project, delay compensated. Notes goes in front of your own instrument and plays library MIDI through it. Install all three or only the one you need; each finds the app on its own. VST3 on Windows, VST3 or AU on macOS.

None of them changes your sound. Analyzer only listens, adds no latency, and stops listening during an offline render, so bouncing is unaffected. Your project does not have to be playing either: with the transport rolling auditions start on the grid and follow your seeks and loop braces, and with it stopped previews still play.

Yes. Every sample carries LOW and PUNCH dials, and there is a reverse reverb for swells. Layer Deck lanes add a low cut and a sidechain pump, and any loop with a detected tempo can be laid under a beat grid to play, reverse or drag out a single slice.

LOW is a bass enhancer, not an EQ boost. It splits the sample at 100 Hz and drives the band underneath into a soft saturator, then adds that saturated copy back alongside the original. The harmonics it generates sit an octave and more above the fundamental, so the weight still reads on speakers that cannot reproduce the bass itself.

PUNCH is a bipolar transient shaper. A fast and a slow envelope follower run on the same signal, and the gap between them marks the onset of a hit. Only that onset is moved, up to 12 dB, and only above roughly 350 Hz, so the low end stays put while the attack sharpens or rounds off. Both are causal, so nothing is added to your latency, and the same code runs live and in the bake: an audition and a drag out are the same process.

LOW and PUNCH are remembered per sample and always print into the file when you drag it out. Key and tempo conforming prints too, once you close the padlock. Layer Deck lane settings print into a lane's own drag out and last for the session.

If a matching MIDI file from the same sample pack is already in your library, HYPERCRATE pairs the two automatically. If there is no match, it converts the audio into MIDI on your machine in one click. Either way you see the notes in a piano roll before you drag them into your DAW.

Quality varies with the source material. Clean transients and clear musical tones transcribe most accurately, so single instruments, plucks, basslines and melodic loops come through best. Dense, heavily processed or noisy material is harder to read. The piano roll shows you exactly what came through before you commit to it, and once the MIDI is in your DAW the notes are yours to correct.

Your samples, your library and all of the analysis stay on your machine. HYPERCRATE never uploads your audio. That includes the smart parts: describing a sound in plain words and finding similar sounds both run on a model that ships inside the app.

The app talks to two of our servers and nothing else: one to check your licence, one to check for updates. Neither is ever sent a sample, a filename or a folder. Crash reporting is off unless you switch it on.

Sign in once and it keeps working with no connection at all for 30 days at a time, then it needs to reach the licence server once to reset that window. Everything else works with no network whatsoever.

No. One purchase gives you a permanent licence and the app never expires or locks. Every feature update and major release in your first 12 months is included, and after that you can renew for another year of new features only if you want them. Security updates and bug fixes stay included either way.

One licence covers three computers at once, in any mix of Windows and Mac. Activate a fourth and HYPERCRATE offers to release the one you have used least, naming it so you know which you are freeing. You can also deactivate any computer yourself from Settings.

Your initial HYPERCRATE purchase is covered by a 30-day money-back guarantee. If you later choose to renew for another year of feature updates, that renewal has its own 30-day money-back guarantee too.

That guarantee is there instead of a trial. Buy it, use it on real projects for a month, and if it is not for you, contact us within 30 days and we will refund that purchase or renewal.

HYPERCRATE is coming soon for Windows and macOS. This page is where it lands first.