Live-first tools for front-of-house engineers. macOS (AU / VST3) and Windows (VST3). Free — request your key below.
A live VST3/AU host built on hardware insert-patch logic: patch any plug-in to a console channel, align every insert latency with one button, crash-guarded out-of-process scanning.
Removes acoustic feedback and unpleasant harmonic resonances on stage with surgical precision — without disturbing the natural tone or phase structure of the mix. Six harmonic-tracking notch bands, decay-linked slope.
Aligns phase mismatches and delays between multiple microphones and signal paths in real time, with continuous tracking. Kick in/out, snare top/bottom, stereo or linked dual-mono inserts.
Always-on-top metering and bus balance for RP-1: per-channel IN/OUT bars with Peak and VU ballistics, ambient alert the moment anything clips.
An instrument-specific family that listens during soundcheck without a single button press, learns the source, then hands you two knobs: PUNCH and DEPTH. Kick (PX-DrK) first; snare, toms, bass, guitars, keys, horns and vocals to follow.
Online training on live sound engineering: fader balance before processing, gain staging, phase integrity, PA and delay system design, Dante networks and show-critical communications. Built from decades on real stages — launching soon.
Decades in the live industry. Constructive fader balance, gain staging, phase integrity and a natural frequency spectrum instead of heavy EQ and processing. PA/delay system architecture, Dante networks (Dante Level 3 Certified), HelixNet & FreeSpeak communication matrices, arena and open-air show mixing. Live only — studio and recording are out of scope.
I have spent my working life behind consoles — concerts, stadium productions, international broadcasts. What I learned there is simple: a mix is not saved by processing, it is built by balance. Fader discipline, honest gain staging, phase integrity and respect for the natural spectrum of an instrument will always outperform a chain of correction.
That belief became software. The YY series — RP-1, HN-6, LM-2, MB-1 and the PX family — are not studio toys; they are tools that exist because a show needed them, on a night when there was no time to fix things twice.
Great sound is emotion. Precise sound is science. The work lives where the two meet.
Yilmaz is a hard working, dedicated and reputable audio engineer. He is very experienced in live sound productions.
I had the pleasure to meet Yilmaz at some DAS AUDIO seminars. He has the ability to make sound topics enjoyable for people regardless their knowledge on sound.
I have had the pleasure of working with Yilmaz. I can not say more than great things about not only his work and technical knowledge, but also as a beautiful person.
Excellent audio engineer with very much experience in live sound and a good team player as well. We loved to work together with him.
A visionary in his work and great personality. We have worked on many projects together for the top artists and always amazed by Yilmaz's professional approach.
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