Gäste: Können in den meisten Foren ohne Anmeldung Dateien runterladen. Wer kommentieren will oder Fragen hat, muss sich anmelden Registrierung Erforderlich sind: 1. Music-Society-Plugins 2. alle Support-Foren wie Help Me(Nur Hilfe für Plugins, Musikprogramme), ... Continue reading →
A uniquely sampled guitar vst perfect for Lofi and Trap
Vinyl Guitar is a character guitar plugin. We sampled a guitar through an actual vinyl record player and then made a playable instrument out of those samples.
Vinyl Guitar comes with an easy to use interface allowing you to sculpt the sound as needed.
• Fret Noise – Use this macro to control the level of the fret noise you hear when changing notes and chords.
• String Buzz – This macro adds buzz to some strings randomly to more accurately recreate the sound of a real guitar.
• Pick Noise – This macro adds a picked attack to the start of the sound.
• Reverb – The reverb knob is a dry wet knob. The reverb settings panel opens a pop up box allowing you to dial in other settings.
• Attack/Release/Dynamics – This section of the GUI allows you to change how the guitar plays to fit your playing style or MIDI.
Protoverb: prototype reverb
A natural sounding reverb based on the concept of a room simulator. Protoverb is an experimental researchware plug-in, developed to aid our research. Download and use it for free.
Feel it in the air
What is Protoverb?
Protoverb is an experimental room simulator reverb. Most algorithmic reverbs try to avoid resonances or model the reflections of sound from a room’s walls. Protoverb does the opposite. It builds up as many room resonances as possible, modelling the body of air in the room. No need to modulate or colour the signal. The result is a very natural sounding reverberation with interesting characteristics:
• Notes held for a longer time tend to build up resonance, as if the air takes a while to get excited
• Multiple instruments remain distinct, without disappearing in a wash
• When you play a short melody, the room seems to repeat a ghost echo of that melody
The text box at the bottom of Protoverb’s interface contains a text string made up of two random parts. The first half dictates the network structure, strategies for spatial layout and distribution of delay taps, strategies for finding useful delay lengths and so on. The second half is a seed for a pseudo-random number generator—used to set various parameters such as the average delay length, which prime number to choose (if any) etcetera.
You can either edit the text, or randomise each part independently using the buttons below the text box.
• Apple logoMac OS X 10.9 or newer
• Windows logoWindows 7 or newer
• Linux logoLinux
Host software / DAW
• 1GB RAM, more recommended
• 50MB free disk space
• 1000 × 600 or larger display
Modern CPU required:
• Windows/Linux: Intel Nehalem or newer, AMD Bulldozer or newer
• Mac: Intel Nehalem or newer, Apple M1
• Linux: glibc version 2.28 or newer
Protoverb is not a standalone product, it requires host software. Protoverb is compatible with nearly all DAWs.
• AUv2, VST2, VST3, 64-bit only
• temporarily no AAX
• VST2, VST3, AAX*
* AAX requires Pro Tools 10.3.7 or later
Protoverb 1.0.1 (revision 12092)
Native M1 ARM support
• Native support for Apple Silicon chips (M1)
• macOS Big Sur compatibility
• Improved GUI performance
• Improved handling of junction links on Windows
• Preset browser added
• Minor GUI fixes/tweaks
• Various Mac and Windows installer improvements
• System info displayed in GUI (revision, OS, plugin format)
• Fixed low level input signals potentially scratching on left channel
• Fixed crash in Bandlab Cakewalk when reloading a project using VST3
• Fixed rare crash on project reload
• Fixed audio clicks when switching presets
• Various framework fixes and improvements
• Presets can only be saved in the user folder section
• AAX support on Mac removed temporarily (will come back in next update)
• Updated minimum requirements, CPU needs to support SSE4.2 instruction set
• Linux: minimum required glibc version is 2.28 (otherwise plugins won’t show up)
• macOS 32-bit support discontinued
The Windows installer was improved to prevent common installations issues. Please check the suggested installation paths during installation, making sure the update is Installed into the same location as the previous version, and all installed plugin formats are being updated.The factory preset library has been cleaned and sorted for this update. Files are replaced automatically on Mac.
Windows and Linux users, please consider removing the factory library folder before running the update installer.
Roughly works like this:
Features – 3 LFO’s with a lot of functions via dropdown menus (green text) – – auxiallary Envelope with several destinations. – not great-sounding echo and reverb. – extra oscillator for extra tone or white noise, which can be routed to vairous areas in the signal chain. – presets
Made with synthedit, with the blessings of Jeff himself. Thanks Jeff :).
Echo Sound Works has announced its House Piano sample library for Kontakt 6 (full version) is free for a limited time.
Anyone who produces dance music knows the “House Piano” sound. The iconic sound first debuted in the late 1980s on a Korg M1 and still gets used today.
This library is inspired by the sound of Joel Corry, Sigala, Jonas Blue, MK, Nathan Dawe, Kygo and so many more.
The interface is simple and easy to use with the following controls:
Transient – use this macro to add a snappy pluck to the attack of the sound. Perfect when you need the piano to cut through a mix.
Bowed Keys – This macro adds a sustained layer to the notoriously short M1 piano sound.
Synth Keys – This macro adds a synthesized key sound to the main M1 piano.
Effects – Filter out high frequencies with the LP Filter and add some dimension with the reverb control.
Performance – These three macros allow you to fine-tune the performance of the piano to fit your playing style or MIDI.
House Piano works with a full version of Native Instrument Kontakt only (the free Player version isn’t supported).
Acon Digital Multiply is a free and versatile chorus effect with a unique twist. Each simulated voice is processed with a phase randomizing filter so that unpleasant comb filter effects are avoided. The effect can be used to simulate the effect of several performers playing the same tones simultaneously, to widen the spatial image or to create special effects for sound design. Multiply can simulate up to 6 additional voices and both the pitch and the loudness of the voices can be modulated. There is also an integrated equalizer consisting of low cut, low shelf, high shelf and high cut filters that can be applied to the effect signal. An integrated pre-delay section makes it possible to create modulated and diffuse echo effects.
Platforms and Plug-in Formats
Available as VST or AAX plug-ins on PC (Windows)
Available as VST, AAX or AU plug-ins on Apple Macintosh (OS X)
Native 32 bit or 64 bit versions of all plug-ins are available
Supports sampling rates up to 96 kHz
Mono and stereo (true stereo processing)
Acon Digital Multiply
Chorus effect with up to six separate voices
Randomized phase filters in order to avoid comb filtering effects while keeping delay times short
Integrated equalizer for the effect signal
Graphical visualization of equalizer frequency response
Undo and redo parameter changes
Save, load and categorize user presets
PC Version (Windows)
Windows 10 / 8 / 7
Intel Core i3 or AMD multi-core processor (Intel Core i5 or faster recommended)
1366 x 768 display resolution (1920 x 1080 or higher recommended)
1 GB RAM (4 GB or more recommended)
1 GB free HD space
A host application that is compatible with (32 bit or 64 bit) VST , VST3 or AAX (Pro Tools 10.3.5 or higher)
Macintosh Version (macOS)
macOS / OS X 10.8 or later
1 GB RAM (4 GB or more recommended)
1 GB free HD space
A host application that is compatible with (64 bit) AU, VST, VST3 or AAX (Pro Tools 11 or higher)
Spacelifter 3 is the next evolution step for our modular space effect that combines 3 top crafted spacing modules: most aggressive duration, capacity and echo modules connected in parallel, master modulation effect, side-chaining and a ping pong panning effect for each of the spacing modules. Spacelifter 3 can perfectly mix any kind of audio source, from drums to vocals and add some exiting panning and modulation joys to your mix.
The frequency range module – The frequency range module functions as a “wet EQ”. It would pass wet signal at the determined frequency values only.
The LFO module – The modulation effect is based on 5 motion engines. It can create a constant vibration or a gated one, depended on the amount of the added effect. It can be synced to the host’s BPM or either played in manual speed.
The ping pong module – The pingpong module is panning effect based on 2 motion techniques: constant (“in motion” mode) and Immediate (“immediate” mode). It can be synced to the host’s BPM and create increased\decreased movement or immediate jump from one panning point to another.
The side-chaining module – The side-chaining module allows the ducking effect between the dry signal and the wet signal on frequency basis. Each of the 9 drawbars represents a frequency range an by pushing the drawbar down, the wet signal will be ducked at that frequency range.
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.
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
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
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.
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.
The VST module we present is a result of about 6 years experience in analyzing, developing and creating patches for various echo gear. From an engineering point of view, the objective was to emphasise on the already available vintage measurement libraries and applying the do-act-improve cycle to the design at hand as to maximise the possible performance possible.
The final approach taken is a dual approach. In many cases the guitar player is not interested in fine-tuning an echo device but would just like to select a recommended setting and play along with it. For this type of player the preset manager is loaded with a extensive set of pre-programmed patches ready to be used. In other cases where the guitar player requires matching the exact echo with the echo that was used to record the track from his/her favourite artist. The eTAP Engineer VST module is the assigned module that fits this requirement as it allows customizing the various filter and timing characteristics in minute details.
The emphasis for eTAP is geared towards the vintage echo’s used by H.B. Marvin during the 1960-1965 era. We believe “from the man himself” that the early recording are made without the Meazzi gear but with some sound-engineering tricks.
The mentioned vintage echo gear allowed the Shadows to sound like the recording while performing life. Our approach would allow also for a fine tuning towards the “studio delivered” echoes. The VST module presented here allows for those two mentioned approaches as it will act as a normal vintage device emulator or can be fine-tuned to your specific needs.
The Preset manager is pre-loaded with a complete set of JPatches to allow “playing like the Shadows”. The JPatches are based on the following vintage Meazzi echo equipment:
● Echomatic -I
● Meazzi PA304
● VOX LongTOM
● Roland RE301
● Binson Echorec Baby
● BPM (Special mode)
The tape artefact’s, also part of the DESO objects can be controlled through the knobs on the right panel of the engineer module or at the top in the forthcoming eTAP Standard model. Care is to be taken not to overdo the activity.
Halo: Halo is the leakage effect of all playback heads in the Echomatic-II configuration. It is believed that it’s only around 0-1%. The range provided is extended so it can be investigated/utilized to the fullest
W&F: Wow and Flutter are artefact’s belonging to the way pulley and capstan but also other mechanical wear (like capstan dents in a rubber wheel) are affecting the tape/head interaction. Our W&F is based on a measured tape mechanism as no information is available on discs behaviour.
Saturation: Saturation is mimicking the tape’s saturation behaviour as it really compresses the signal. Our saturation fits a typical 15IPS tape.
In addition, extra 12ax7 valve characteristics are added to the audio chain including a signal/noise/distortion relationship that’s comparable with vintage echo machines.
The BPM mode (Beats per Minute) allows for a head timing mode that fits exactly the beads per minute. By using this mode the user can create an unique set of timings and the related amplifications of the heads including a wet filter characteristic to emulate other devices.
Valhalla Super Massive has been designed from the ground up for MASSIVE delays and reverbs. Blow your mind and your music to new levels of consciousness and experience. Get ready for luscious clouds of reverb, otherworldly delays, swelling waves of feedback unlike any you’ve heard before.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.