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TheWaveWarden Odin 2 v2.3.1 x64 VST3 AU WiN MAC LiNUX [FREE] 0 (0)

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odin2_fading

Odin 2: A Synth to Please the Gods
The sound of this 24-voice polyphonic beast will take you from your studio right to Valhalla. Earth shattering basses, exquisite leads or mad FX, Odin’s got them all! Use the classic sound of analog waveforms – or draw your own. High quality emulations of legendary analog filters like the Moog-ladder or the Korg-35 further shape your signal. Round your sound off with five onboard FX, or get crazy with modulation. There’s much to discover in Odin 2.

Version 2.3.1
– LFO Waves now selectable from a dropdown
– reversed order of LFO waves to make them align with dropdown
– Debian package: fixed data file being owned by root (introduced in 2.3.0)

Version 2.3.0
– new FX Module: Reverb (sourced from zita-rev1)
– added microtuning functionality: Scala and KeyboardMapping files (Credits to Team Surge with their FOSS tuning library)
– Added MIDI Breath (CC 2) as modulation source
– ModMatrix amounts now range up to [-300, 300] – FM- PM Osc ratio ranges increased to [1,16] – Init Patch now has the LP-Filter fully open
– default GUI size is now 150%
– Retrig playmode now restarts the ADSR Attack from the current value, rather than zero
– added indicator triangles to dropdowns to make them more visible
– factory presets are now contained in the binary
– all paths opened with patchbrowsers are now remembered after reopening plugin and shared among different plugin instances
– fixed Filters not being modulatable beyond +150 in modmatrix
– renamed debian package from odin to odin2-synth to avoid conflicts with repositories
– linux: removed unnessecary dependency to libcurl4
– linux: enabled link-time optimization
– created Azure-CI pipelines for Ubuntu-18.04, MacOs 10.14 and Windows2019 to create installers automatically
– updated Manual to 2.3.0
– updated to JUCE 6.0.8
– major code cleanup

https://www.thewavewarden.com/odin2

 

Cynthia by NineCows[win, VSTI, x86] 0 (0)

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Cynthia_3

With Cynthia you can do all that crazy stuff you cant do with a modern synth.

Cynthia is monophonic VSTi, very Old School, but will still be able to keep in tune throughout the song, patches can be stored and it is of course fully MIDI controllable.

Control voltage and sound sources:

  • 3 monophonic oscillators with controls for shape and level of the waveforms, sync and phase-shift
  • Noise generator
  • Two audio inputs so you can modify the sound of a guitar or your voice
  • 8 step control voltage sequencer
  • Attack-hold-decay(-repeat) envelope generator producing a control voltage with adjustable level and bias

Treatments:

  • A self-oscillating filter (can be used as a sine OSC as well)
  • 3 VCA’s controlled by the envelope generator or control voltages assigned to the output level of each channel
  • Ring modulator
  • Spring reverb with short and long spring
  • Delay (delay time from 0 to 10 seconds)


Controls:

  • Tuner for tuning OSC’s by ear
  • Joystick for extra control
  • 16 x 20 routing matrix with inputs for host MIDI pitch and velocity and inversion of individual connections
  • MIDI cc’s can be assigned to any knob
  • Adjustable portamento time
  • Trigger button for triggering the envelope generator


Outputs:

  • 2 pairs of stereo outputs with extra filters, pan and volume control, direct out and speaker (simulating the sound of a pair of canny speakers)

Cynthia

NB01 – distortion/sustainer by Noizebox – KVR Challenge 0 (0)

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NB01 – distortion/sustainer is the first plugin from Noizebox Industries. Made for KVR DC21.

Inspired by a circuit from an ancient guitar pedal that was originally intended as a soft-distortion-sustainer for guitars. Giving that singing sustain without a lot of harsh distortion. This is a modern take on the same circuit, not a straight up clone, more of a work-alike inspired by the original circuit. Though a fair amount of work has gone into modelling the peculiar anomalies of an overdriven, asymmetrically clipping, amplifier circuit with a FET-based feedback loop that works like a crude compressor, prone to overcompensating.

NB01 adds control over the amount of compression applied and the response time. It its fastest setting it is not really a compressor as it starts altering the waveform of the incoming sound. It also add tone controls for more versatility in shaping the sound. The tone controls are a mix of pre and post filtering that makes them interact with the overdriven amplifier circuit in interesting ways.

The signal chain is processed with 4x times oversampling with high quality elliptical downsampling filters to limit aliasing and accurate modelling. Real time parameter smoothing for glitch-free operation. Written in native C++ for performance and small footprint. Hardware accelerated, vector based UI.

Use it as overdrive before a guitar amp plugin for a sweet, compressed and singing tone. Preferably with a bit of midrange boost to cut through. It’s is also perfect for destroying drum loops. Either by rolling off the bass and making the compressor slam the transients.

Or by cranking up the low end for really making the compressor duck like crazy on the kicks, by setting the response time to moderately fast, you can tweak the gain knob to find a sweetspot where the bass triggers the compression in just the right way.

Or try it on any other material, lofi vocals, adding grime to basslines or any other creative ways of destroying sounds.

Controls:

  • Gain: Sets the gain of the circuit, higher values produce more distortion.
  • Compression amount: Sets the amount of compression applied. There’s a lot of range here. At extreme settings the compression will be negative, i.e. a 3 dB volume increase will result in more than 3 dB gain reduction. This can cause a bubbling/pumping/grinding artefacts at some combinations of high reaction speed and high compression when the circuit switches back and forth between overcompensation. This is not a bug, it’s a feature and lot’s of weird distortions can be discovered here.
  • Compression Speed: Sets the reaction time of the compressor feedback, higher values create more distortion as the compressor starts to chew on the waveform rather that the envelope of the sound.
  • Stereo: This switches between Fully independent stereo processing, stereo processing with linked compressors and mono processing.
  • Tone: lo, mid, high: Tone controls are fairly straight forward. All controls at 12 o clock means a reasonably flat response. Tone controls are also a combination of pre and post clipping, which creates more interesting textures.
  • Scope: Just for amusement really. but it’s fun to watch.
  • Master level: Sets the output volume for balancing the mix.

https://www.kvraudio.com/product/nb01—distortion-sustainer-by-noizebox-industries

Mastrcode Music free T-Force Delay plugin 0 (0)

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T-Force Delay is a dual mode delay effect device. It can be used to add an echo effect to your sound. Its feedback signal can be modulated with filters and a degrader, to emulate the old vinage style analog tape echo effects. It can produce simple stereo delays, but also can be switched to ping pong mode for that typical left/right pingpong echo effect. it also has a flanger to create some crazy flanger effects on the feedback signal.

Available as 64 bit VST/VST3 and 32 bit VST.

Features:

  • Effect device for using as insert effect or send effect
  • Powe switch – can be switched off to turn the plugin into bypass mode
  • Sync switch for switching between free mode and host sync mode for the delay time
  • Switch for enabling ping pong mode
  • Delay time control – controls the time of the delay
  • Feedback control – controls the feedback signal length
  • Mix control for the dry signal
  • Mix control for the wet signal

Feedback modulations:

  • Filter – used to create that typical analog tape echo style lowpass/high pass filter fitlering effect in the feedback signal
  • Degrader – used to create a degrade/downsampling the effect in the feedback signal

Flanger:

  • Adds a flanger effect to the wet signal
  • Rate control – used to control the tempo rate of the modulation
  • Depth control – used to control the modulation depth
  • Feedback control – used to control the amount how strong the flanged signal will fed back into the flanger which results in a more “metallic” sound.
  • Mix control – used to control how strong the flanger effect will be added to the wet signal.

Other features:

  • All controls are fully automatable
  • Available as 64 bit VST2/VST3 and 32 bit VST2

How to install: instructions how to install this plugin are included in the zip file.

Info: the VST2 version of the plugin also uses the VST3 preset system (.vst3preset), to make the presets cross-compatible. For more infos please read the “Read me first!” text file included in the zip file.

Please note: supports Windows 7 and higher only, because the plugin uses a new graphics API – all graphics now will be rendered with your graphic card’s GPU instead of the CPU. Windows XP doesn’t support the new graphics API. No Mac support, because some 3rd party code modules are used inside the plugin which are just available for Windows. If the developers of these code modules make them available for Mac, i will also add a Mac AU version in future.

You might need to intall Microsoft Visual C++ 2015/2017 Redistributable

https://mastrcode-music.de/en/vst-plugins/t-force-delay/

T-Force Delay Version 1.0

KUJASHI Soundbank for the SYSTEM ONE D_mv by Kevin Brown 5 (1)

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Soundbank (128 Patches) +Drumsound-Bank (31 Patches) für den SystemONE-D_mv  (Buchla 200 series-Emulation) von Kevin Brown

Wer weiß, wie ein Buchla eigentlich klingt? Einfach mal in die Werke von Suzanne Ciani oder Kaitlyn-Aurelia Smith oder auch Alessandro Cortini (Orchesterwerke) reinhören.

Der SystemOneD ist nach Entwicklerangaben (K. Brown) eine Emulation von früheren Buchla-200 series Modulen und ich habe versucht, in diese Modulserie einzutauchen und Klänge “herauszuschälen”.

Herausgekommen ist ein Sammelsurium von “Strange Noises”, Drone-Klängen, Bässen, majestätischen FM-Gebilden, Modularsweeps, Modular-Vocal/FOrmant-Stimmen, Glocken und Keyboardsounds, Buchla typischen Percussionsounds, verrückten Effektklängen und Sequencersounds (der SystemOneD-mv) hat allerdings keinen integrierten Sequencer (daher extern in den Klangbeispielen) sowie Klängen, wie sie wohl nur ein Modularsystem hervorbringen kann.

Außerdem habe ich noch eine kleine Drum/Percussionsoundbank mit 30 Klängen dazuprogrammiert.

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A soundbank with 128 patches and a Drumsoundbank with 31 patches for the SYSTEM ONE D_mv by Kevin Brown

SystemOne D_mv is a emulation of the earlier BucHLA 200 Series:

Do U know how a Buchla sounds? Please, listen to the works of Suzanne Cziani or Kaithleen-Aurelia Smith for example.

This synth is a emulation with some modules of the 200e Series of Buchla and I´ve tried to get into the secrets.

I´ve made a whole bunch of sounds – from strange noises to strong Drones, Basses and majestic patches of FM-synthesis, Modularsweeps, Modular Vox, Bells and analog Keys, Buchla typical Percussion, Crazy SFX and Sequencerfood (this synth has no internal Sequencer) and sounds that only a modular synth can generate.
There´s a little bank with Drum & Percussionsounds for any needs, too.

Einfach mal das Sounddemo durchhören, welches zeigt, was man mit den Klängen der Bank (inkl. Drumbank) so anstellen kann. Eingespielt nur mit Klängen aus der Bank (inkl. Drums/Perc) und ohne externe Effekte.

Pleaste, listen to the sounddemo – this shows the usage of the soundbank. Played only with sounds from this banks and without the use of external effects.

Demo:

For download the banks you have to register and login in the forum, it is free!