Download Safari Pedals Everything Bundle for Mac

In the edit

Safari Pedals Everything Bundle 2026.05 is a collection of audio plugins that sit across your session wherever colour and character are needed: on individual tracks, on group buses, or across the mix bus itself.

Where each plugin fits in a session

• Sun bear and Camel Strip live on individual channels, adding saturation and tone shaping before anything else hits the fader.
• Dragon EQ and Rabbit Tape work well on buses, giving you broad frequency moves and tape warmth across a drum group or vocal stack.
• Bull Sub Machine and Zebra Clipper are built for the mix bus or sub-group, handling low-end weight and peak control without killing the feel.
• Owl Control, Fox Echo Chorus, Cobra Fuzz and the Planet of the Amps Pack bring modulation, dirt and amp character wherever the arrangement calls for it.

What the bundle covers

Everything Bundle includes all of Safari Pedals' effects: Sun bear, Camel Strip, Dragon EQ, Rabbit Tape, Bull Sub Machine, Zebra Clipper, Owl Control, Fox Echo Chorus, Cobra Fuzz and the Planet of the Amps Pack. On macOS it runs in VST3, AU and AAX formats, native on both Apple Silicon and Intel. The latest version adds Cassette Bunny to the lineup.

Rabbit Tape warms your loop and Level-Or tames your bus

You have a loop you found, a bass patch you dialled in, and a vocal hook that needs to sit right. You load up a new project in your DAW. The first plugin you reach for is Rabbit Tape on the master bus, just to get that slight wobble and high-end roll-off that makes the whole thing feel less like a screen and more like a tape. On the bass track, Bull Sub Machine goes on to tighten the sub frequencies without losing the weight — you don’t want your low end to turn into a rumble. The vocal gets Camel Strip for a touch of saturation and a quick EQ move, enough to make it present without fighting the sample. The loop itself gets a send to Yak Delay, set to a dotted eighth, just to add movement on the tail of the snare. By the time you bounce a rough mix, you haven’t touched a single compressor. Everything already feels like it has a character.

A workflow for getting a drum bus ready in five steps

1. Route your kick, snare, hi-hats and percussion to a group bus. Put Gorilla Drive first in the chain. Dial in a moderate amount of drive so the transients start to glue together without losing the attack of the snare.
2. Follow with Zebra Clipper. Set the threshold so it catches only the loudest peaks. You are not trying to squash the bus, just shave off a couple of dB so the level stays controlled.
3. Add Dirty Dog Reverb on a send from the bus, not as an insert. A short room setting with the decay turned down gives the drums a sense of space without turning them into a wash.
4. Insert Rhino Reverb after the clipper if you want a bigger, more ambient tail on the whole bus. Keep the mix low — about 10 to 15 percent — so it sits behind the dry signal.
5. End the chain with Level-Or to even out the overall level. You are not mastering here, just making sure the bus sits consistently in the session as you move between sections.

Fixing flat guitars and disconnected vocals with the bundle

You open a mix you have been working on for two days. The arrangement is mostly done, but the guitars feel flat and the vocals are sitting on top of the track rather than in it. You start with the vocal bus. Lion Master goes on first, set to a gentle compression ratio. It catches the louder phrases and lets the breath and softer lines stay natural. Next, Fox Echo Chorus on a send, with the rate set slow. The vocal widens just enough that it fills the centre without sounding like a stereo effect.

For the guitars, you insert Planet of the Amps Pack. You choose an amp model that matches the feel of the song — a British-style crunch for the main riff, a cleaner setting for the arpeggiated part in the verse. The plugin sits directly on the track, no extra pedals needed. You adjust the gain and the EQ on the amp model until the guitar sits behind the vocal but still cuts through.

On the drum bus, Time Machine goes on as a parallel send. You blend it so the room sound from the original recording gets a bit of modulation and length. It adds movement without changing the dry hit. You then insert Hawk Phaser on the hi-hat track, set to a slow sweep, so the pattern shifts slightly every few bars. It is a small detail, but it keeps the listener’s ear moving.

You finish the session by putting Ladybug Reverb on a return track, sending the vocal and the snare to it. The reverb is long but dark, so it adds depth without cluttering the high end. You listen through the whole track once, making small tweaks to levels. The mix now sounds like it belongs together, not like separate parts stacked on top of each other.

Pick two plugins per session to learn how they interact

• Start with one or two plugins per session, not the whole bundle. Pick Rabbit Tape for a track you want to warm up and Level-Or for a bus you want to control. Get a feel for how they interact before adding more.
• Use Camel Strip as a quick tone shaper on any track that feels dull. The saturation section can bring life to a synth pad or a vocal take that was recorded too cleanly.
• Try Dragon EQ on a group bus instead of on individual tracks. Broad curves on a drum or guitar bus can shape the overall tone faster than tweaking every channel.
• If you work with samples, insert Cassette Bunny on a return track and send a loop to it. The lo-fi character can make a sample feel like it belongs to the song rather than sounding like a file you dragged in.
• Save a few presets as you go. When you find a setting that works on a vocal or a drum bus, store it. The next session will start faster.

New this release

• Added Cassette Bunny.

Mac it needs

• macOS 11 or later
• Apple Silicon or Intel processor
• Interface language: English