My Crush by Denise 0 (0)

my_crush_render2x

denise wanted to create a fun and inspiring crusher, with the same brutal power of the Bite Harder, but the simplicity of preset controls and way to shape your sound in a quick and inspiring way. My Crush gives you the possibility to create the same, classic bit-crushing tones and audio destruction, in a simplified way, for no cost at all.

Refined crush controls.

The same insane bit crushing algorithm from the Bite Harder drives the My Crush plugin. The individual bit (reduce) and re-sample dials help you to gradually destroy your sound. The stutter fader adds a layer of creativity on top.

https://www.denise.io/store/denise/MyCrush

PIF Russian kid synth VST concept by Rawoltage 0 (0)

pif_02

PIF Russian kid synth VST concept.

We love little playful synthesizers, which is why we made one of our favorites. An indispensable musical accessory of Russian kindergartens, this little synth is from the 1980s. We modeled both the original tone and the sound we can hear through the speaker. In this emulation, you can view a small piece of history inside and out. It was available in several colors. While playing, even random can change its color, making the synth more fun.

Free download:

NAME: KVR Promo.

SERIAL: 91E2BC42353AFA2D.

https://rawoltage.com/wp-content/uploads/demo/RW_PIF.exe

Fugue State Audio Shapeulator free plugin synth VSTI3 0 (0)

shapeulator-new

 

Shapeulator is essentially the product of a modular patching session, and a desire to have the core setup used available for further sound design fun. At the most basic level, it is a subtractive synthesizer, with some additional features that make it especially useful for certain types of pads, fx sounds, and synthetic percussion.

The main features that separate Shapeulator from other analog-style subtractive synths are the waveshaper oscillator and resonator. The waveshaper oscillator is a fairly standard VA osc with a waveshaper that is controlled by another oscillator. This second oscillator can be modulated independently, and creates a sound something like amplitude modulation. The resonator is a stereo bank of tuned delays with feedback, which can also be modulated.

Patron

Quilcom SIM-SHENG 0 (0)

The Quilcom SIM-SHENG is a plugin designed to simulate this ancient class of Chinese mouth organs.

Click on the picture to download the zip which contains 32 and 64 bit plugins and a 32 bit plugin for Windows XP. Also included is a Background info folder so you can learn about the instrument, and a User guide for the plugin.

I always include the fsm file for my plugins which isn’t needed for the plugins to work but is there if you want to download FlowStone and look at the workings and maybe modify it, or use bits and pieces for your own projects.

Have fun!

http://flowstoners.com/wp-content/uploads/2021/07/Quilcom-SIM-SHENG-v1.002.zip

FourHead by Fugue State Audio 0 (0)

FourHead is an experimental granulator effect, despite not really being a delay or a granulator, though it lives in that realm.
It is based on an audio buffer which constantly records the input in chunks. This buffer is then read by four “play heads” which play it back as looped segments.
The length of the chunk to be played back is set independently from the length of the recorded buffer, and the pitch and start offset for each “head” can be modulated (the playback on 3 of the 4 heads can also be delayed), creating odd retriggering arpeggiations and granular-style swarms of sound.
The output can also be fed back to the record buffer for endless noisy fun.

C-C- -01 by Christopher Carmichael – KVR Challenge 0 (0)

 

Quickly, I’ll tell you (so you don’t necessarily have to read the more detailed version with good technical stuff and known issues, below, but it should help you), the C-C- -01 is a Signal Enhancer. It can:

  • EQ/Filter (7-bands).
  • Peak Follow (with RMS, Oscillators, and Noise also, and also change the Oscillators’ sound response curve going into the Oscillators Peak Followers, and change both response curves for both Peak Followed signals), and change the signal’s Attack and Decay moderately.
  • Wet-Dry.
  • Blend RMS and the Peak Follower.
  • Blend Saturation and the previous EQd, Filtered, and Peak Followed Signal.
  • Subtract the EQ and Filtering from each previous signal at each EQ band, and/or subtract the entire EQ process from before Equalization, and use “Non-EQd Makeup” controls to boost back (and beyond), in parallel, the remaining signals after the EQd signal was subtracted.
  • Oversample.
  • Saturate.
  • Use dual-bands, can split Stereo signal into Mid/Side, all things can be manipulated per channel.
  • Use Linked Controls.

Also, sorry, but some of the things in the About DOC that comes with the plug-in are slightly inaccurate, some things I don’t describe properly. Most, if not all of the corrections are listed on this page.

I’m no coding or programming genius, I just use SynthEdit and connect the wires, and do some basic things. Now for the more technical, more in-depth version (below).

Key Features/Notes/Known Issues/Problems, and some things you can do with the C-C- -01:

  • I cannot fix DAW/Host compatibility issues, that might be a SynthEdit problem. Also, Automation Parameter names may not completely show inside of some DAW/Hosts.
  • All Parameter Automations have not been tested, some have, I did this only because all controls of themselves have been tested during the testing and development phase. I cannot fix Parameter Automation problems if they arise, unless there is a setting I’ve missed in the internal working of SynthEdit, maybe I can fix that. I’ve plugged in all of the SynthEdit signal wires properly, as far as I know.
  • Has Peak Following (with a 2nd Peak Follower using Oscillators and Noise), RMS (for both Peak Followers), EQ/Filters (with a added subtractive process that subtracts the EQ’d signal from it’s predecessor, and allows you to blend back in the remaining signal, plus add a boost of that signal, or just use the subtractors on the whole EQ process, and then use the LMeqs and RSeqs sliders to blend back that remaining signal from before the entire EQ process, or a combination of the two sets of blend-back sliders for creative effects. I call this process “Non-EQd Makeup” on the plug-in GUI, above those blend-back slider controls), and Saturation.
  • Peak Follower 1 (called Peak Follower in the plug-in) operates on the Main Input Signal, after EQ/Filters. Peak Follower2 also operates on the Main Input Signal, after EQ/Filters, using the Oscillators/Noise. Both Peak Followers modulate (I think that’s the term) the volume control of separate sets of VCAs, one after the other (the 1st Peak Follower’s VCAs to the 2nd one’s VCAs), for each Peak Following process.
  • Has Left/Right and Mid/Side Input Signal Selection.
  • Has linked controls (internally, not on screen, also the Oscillators section has no linked controls), as well as fully independent control of both signal halves throughout most of the plug-in. Use the Left/Mid set of controls when using linked controls.
  • Has volume response curve options for both halves of the signal (see additional notes below for more about this).
  • 7-band EQ: 6 bands of Biquad modules, band 7 is a Band Shelf Mid Range Boost/Cut. The EQ processing order is: EQ1 to EQ7, consecutively.
  • Wet/Dry mix for the entire FX process, as well as a Saturation blend and an RMS to Peak Follower blend per Peak Follower.
  • Has Oversampling up to 32x, and FIR type.
  • Has Channel On/Offs to isolate your signal.
  • Use the Input Trim and Drive Controls to find the sweet spot on each of the 3 Saturators, and make up gain lost or boosted using the Effects Makeup Gain, so you can compare the before and after of the whole FX process. Drive your Sides signal into Saturator 1 at 30% Wet while pushing the Mids into Saturator 3 at 70% Wet for smoother, more subtle distortion/saturation sounds (Hypothetically speaking. each Saturator is different, and may still have a harsher edge to it, also depending on your setting, but this process helps to smooth that out a bit).
  • (Also hypothetical, depending on your sound’s frequency range) Use a Notch Filter to cut an area, then boost back its’ remaining predecessor signal to get rid of some of those “nasal-y” artifacts, careful though, too much can almost ruin your sound. I think some phase shifting can occur, but I have not examined that. Creative effects can be found by randomly moving and setting the Non-EQd Makeup sliders before/while EQing. In one instance, I tried cutting a large amount (-60 db) using a Peak EQ Type with an average to moderate Q setting (I think the Q was somewhere in the range of .2 to 10), then boosting the Non-EQd Makeup in moderate to large amounts, and the effect was good.
  • Be careful when using the Oscillator Monitor Function, the volume may be intensely loud. Be sure to set your volumes low before you turn on the Oscillator Monitor. It is there to let you set a balance, if you want, but you can really push the volume into the Peak Followers if you want, but you probably don’t want to monitor that louder sound, it’s very distorted, and Oscillator waves at low, mid-range, and high frequencies might damage your ears (maybe all of them can actually, I actually don’t know, and I’m no expert). The real effect was designed for the Peak Follower, so no Oscillator sounds are actually heard when using it for it’s intended purpose, but you can hear the effect on the audio, it subtly equalizes and can boost clarity in your signal. Try a Sine at 1500 Hz on one channel and some Pink Noise on the other and you will hear for yourself. Try the Decay at max (about 5 o’clock) for more body. At the shortest Attack and Decay settings, transients can be more audible with a greater clarity of energy, but not drastically, depending on the setting. At the longest settings, smoother, bigger sounds are achieved. Add RMS and change the Rate Control to hear the difference, and blend between the Peak Follower before the RMS using the RMS Blend control for a natural balance. It is subtle. Use White Noise and Pink Noise together in a Mid/Side configuration to have the Peak Follower put Pink Noise on just the Sides signal, and White Noise on the Mids, and you can balance the volume going into the Peak Follower (it is just subtle to hear it), but when using Oscillator waves (Sine, Saw, etc.) near or at the same frequency and volume (in Mid/Side mode) you may notice more of a Left or Right balance to your signal, I believe since the Oscillators are Mono, not Stereo. I included one Oscillator for each signal half. So, Oscillator wave types and/or frequencies far enough away from each other should give a Mid/Side signal a chance of being encoded/decoded by the process, which means for more fun in your Peak Following. The White and Pink Noise seems to always work in Stereo or Mid/Side, though.
  • The Peak Meters may be slightly inaccurate, they show the level below clipping, while it may be that the signal is just clipping a bit. Sorry. As far as I’ve seen it’s only on very quick, loud peaks that it won’t show, otherwise it seems fairly accurate (compared to my DAWs meters, it is just a little below), but I’m no expert. I’m not quite sure how to fix this.
  • The Main Panel’s bottom left features a set of VCA Response Curve choices (I forgot to label them, sorry, you’ll see the words, Decibel when you load the plug-in), they apply only to the Main Signal’s 1st Peak Follower (called Peak Follower on the plug-in GUI, it’s the one that doesn’t use Oscillators). All of the Standard Volume knobs throughout the plug-in have the VCA Response set to the Decibel Curve. I couldn’t decide if I should change that, and I also didn’t have room to give another set of options for you to choose that. I think it’s best if you all can choose it, so I plan to add it later, in a newer version someday, with more Oscillators also.
  • Currently, there’s no internal preset browser. I have not tested whether the Save as .VSTPRESET option in a DAW/Host works. I believe it should. I have experienced issues, in a plug-in created using an older version of SynthEdit, where a saved DAW/Host version of a .VSTPRESET would not be recalled in a project, for some reason, I do not know the reason why though. I don’t know if that issue is present here, or if it’s even a SynthEdit problem at all, it could be that my DAW/Host version is older.

Made with SynthEdit, using only available modules and settings, not coded by myself at all.

https://www.kvraudio.com/product/c-c—01-by-christopher-carmichael

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

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.
  • Tonelomidhigh: 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

Quilcom SIM-CARNYX 0 (0)

A Carnyx is an ancient Iron Age Celtic war horn used to intimidate the enemy in pitched battles, and it’s not very “musical”. It is, however, fascinating… to me anyway!

There’s lots of info in the Background info folder and User Guide if you would like to know more.

The download includes 32 and 64 bit plugins and XP compatible ones, with and without audio input.

Also you get the FlowStone schematics (not needed for the plugins to work). This means that if you buy FlowStone you can open, examine and alter them as you wish.

Click on the picture to download it, load it up and open all your windows and have fun really upsetting your neighbours!

http://flowstoners.com/wp-content/uploads/2021/07/Quilcom-Carnyx-v1.002.zip

HammerHead RythmusStation by threechords 0 (0)

What is HammerHead ?

HammerHead is a simple TR-909-like drumcomputer
program aiming at the dance-scene. You can use it
to create perfect Techno-loops, Jungle patterns and
real BAD-MOFO-KICK-ASS-NOISY-GABBA-SHIT.

What is HammerHead not ?

HammerHead is not Shareware, it’s Freeware ! No
frustrating save-disabling, no grayed-out-menu-features,
no paying serious money, no annoying messages and
most of all NO TIME LIMIT…

HammerHead is not a Bossa Nova tool… This means
that you won’t find any sucky Tom-Toms, Shakers,
Cowbells, Congas and Bongos in this box… What you
WILL find is cool 909 shit, bad overdriven bassdrums,
lotsa snaredrums, claps, and complete breakbeats to
spice up the lot. Buckets-o-fun for making Jungle.

A MUST-CHECK-IT-OUT for everyone who has always wanted
to make his own block-rocking beats !

by Bram Bos
Version 1.0 (25-05-1997)

HAMMER10