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HoRNet Angle is a little handy tone shaper tool. It’s based on the concept of the “tilt eq” a special kind of equaliser designed to change the tonal balance of the track to which is applied.
A “tilt eq” does not provide frequency or Q control, it simply increases or decreases high and low frequencies around a fixed point, and in the case of HoRNet Angle is 650Hz, turning the “Angle” knob on the GUI towards right increases the right part of the spectrum (the high frequencies) while lowering the left part (low frequencies) of the same amount. This simple action allow to perform very gentle tonal shaping that can help you get the correct frequency balance of your mix with very little effort.
HoRNet Angle also adds the standard HoRNet goodies, we have added input and output auto gain based around the 0VU level, leaving them engaged may help you keep the level constant while you tweak the EQ. HoRNet Angle also has the “OpAmp” analog emulation derived directly from our AnalogStage plugin that adds harmonics and make the sound “thicker” when enabled.
The best possible sound quality is always guaranteed by the auto-oversample feature that internally adjusts the oversampling amount to give the plugin enough bandwidth to keep the aliasing at minimum with every sampling frequency.
Tilt EQ adjustable from -18dB to +18dB.
Input and output gain controls with auto-gain.
Input and output peak meters.
Analog emulation based on AnalogStage’s OpAmp model.
Bypass button to exclude the plugin processing.
Mac OS X (>=10.7) and Windows support.
32 and 64-bit compatibility both on Mac and Windows.
Audio Units VST2.4, VST3 and AAX format.
HoRNet CompExp is a compressor expander based on the design of a compander chip designed for telephone lines and used in many electronic devices to reduce the noise.
The chip works with a fixed threshold (in our case is internally set to -18dBFS) when the “amount” knob is at a value greater than 1 the gain is increased by the specified factor if the signal is below the threshold, and decreased if above. If the chip is set to work as an expander, the contrary happens, the gain is increased if above the threshold and decreased if below.
The system is designed this way to permit dynamic compression on telephone lines and compressor and expander are used together in this configuration, but we found that these models sounds interesting by themselves.
The model of this chip is implemented in the HoRNet HDD1 where is used to keep the noise down in the delay feedback loop.
Internally the gain is compensated so that the output is always kept to around -18dB RMS
Compression and expansion
Fixed ratio and gain compensation
Attack and release times
Mac OS X (>=10.7) and Windows support.
64-bit compatibility both on Mac and Windows.
Audio Units VST2.4, VST3 and AAX format.
Over 2021, after the succesful release of Surge 1.9, the Surge Synth team undertook an effort to rebuild Surge in JUCE and add a variety of features. This project resulted in the new version of Surge, called ‘Surge XT’.
Synthesis method: Subtractive hybrid
Each patch contain two scenes which are separate instances of the entire synthesis engine (except effects) that can be used to create layered or split patches.
Quick category-based patch browser with textual search and favorites
Runs on a variety of operating systems, plugin formats, and architectures
3 oscillators per scene, with 12 versatile oscillator algorithms: Classic, Modern, Wavetable, Window, Sine, FM2, FM3, String, Twist, Alias, S&H Noise and Audio Input.
Classic oscillator is a morphable pulse/saw/dual saw oscillator with a sub-oscillator and hard sync.
Modern oscillator is a mixable saw/pulse/triangle oscillator with an optional sub-oscillator mode for triangle (which can also change to sine or square) and hard sync.
FM2/FM3 oscillators consist of a carrier and 2 or 3 modulators and various options.
String oscillator uses two filtered waveguides to emulate plucked or bowed string sounds.
Twist oscillator is based on a very famous Eurorack macro oscillator, and it offers a myriad of synthesis options in a very simple and quick way.
Most algorithms (except FM2, FM3, Twist and Audio Input) offer up to 16-voice unison at the oscillator level.
Oscillator FM in 3 different configurations and ring modulation between oscillators 1-2 and 2-3.
Most oscillator algorithms (except FM2, FM3, Sine and Alias) are strictly band-limited, yet still cover the entire audible spectrum, delivering a clear, punchy and clean sound.
Noise generator with variable spectrum (available directly in the oscillator mixer).
Two filter units in 8 different configurations.
Feedback loop available in 7 of those configurations.
Available filter algorithms: Lowpass (12 and 24 dB/oct, each with 3 variations), Legacy Ladder Lowpass (6-24 dB/oct), Vintage Ladder Lowpass (2 variations, each with and without gain compensation), Highpass (12 and 24 dB/oct, each with 3 variations), Bandpass (12 and 24 dB/oct, each with 3 variations), Notch (12 and 24 dB/oct, each with 2 variations), Allpass (3 variations), Comb (positive and negative), S&H.
Open-source additions to our filter algorithms include: K35 and Diode Ladder filter types from Odin 2 synthesizer, 12 and 24 dB/oct multimode filters from OB-Xd, and weird but fascinating Cutoff Warp, Resonance Warp and Tri-Pole filters by Jatin Chowdhury!
Filters can self-oscillate (with excitation) and respond amazingly fast to cutoff frequency changes.
Waveshaper (43 shapes).
12 LFO units available, 6 are per voice and 6 are global for the whole scene.
DAHDSR envelope generators on every LFO.
LFO shapes consist of 7 deformable LFO waveforms, step sequencer, a fully-fledged multi-segment envelope generator (MSEG) with various curves and up to 128 nodes, and last but not the least – a formula modulator which utilizes Lua scripting language to provide completely custom modulator output.
Voice LFOs allow envelope retriggering in step sequencer mode.
Extremely fast and flexible modulation routing. Almost every continuous parameter can be modulated!
16 effect units arranged as 4 inserts per scene, 4 sends and 4 master effects.
NoizeClick is a kick drum synthesizer allowing you to make your own electronic kick quickly & with ease.
Don’t waste time looking for kick samples when you can make your own kick easily and quickly. It is made mostly for psytrance kicks but its possible to make kick for any genre even for hardcore.
NoizeClick is a single oscillator synthesizer and it produces Sine Wave.
CLICK ZONE: In the click zone you design the kick you want. The click zone is a set of complex envelopes that modulate pitch sinewave. You can control Start, Decay, Curve and add BOOST. In the Click zone you have three fields. Click1.Click 2 and Click 3. Each of them controls pitch independently of the other therefore each controls a certain frequency of the wave
FILTER: The filter is simple and enough to peak on your kick. It has low pass, high pass, band pass and band reject. In the Filter you can control CUTOFF, Resonance and Gain.
DISTORTION: Distortion is also simple but very powerful. With more distortion you can add a little texture to the kick as well as make a hardcore kick.In the Distortion you can control DRIVE and SHAPE
AMP SECTION: At the lower end of the plug-in is an ADSR envelope, which can be used to control the amplitude of the kick.To control the tail for example, we can adjust the sustain and release. Also it can be contoled volume of output.
HoRNet Valvola (the Italian word for vacuum tube) it’s an emulation of the electric behavior of a vacuum tube and its surrounding circuit.
The sound of the plugin is as close as you can get to the real tube behavior since the code it’s the direct modeling of the circuit characteristics obtained directly simulating the tube and the biasing circuit around it.
The same technology is found inside our Guitar Kit plugin and Analog Stage plugin and we decided to give it away for free because we are proud of it.
Valvola comes with many different vacuum tube emulations, including triodes and pentodes, from the classic 12AX7 used in pre amplifiers to the EL84 power tube, well using more than one instance of Valvola you could create your little tube amplifier emulation.
The typical tube distortion that Valvola provides is not static but changes with your music since tubes has some kind of “memory effect” that actually change their bias point if they processed high levels (this is the case with heavy bass drums, bass synths or guitars) in practice they distort more with low frequency peaks. Also vacuum tubes are not linear in frequency response and each one has its own characteristic sound that we carefully modeled using the original tube parameters.
All these interactions are controlled using just one “saturation” knob that also keeps the level constant so you can just add distortion without adding gain and keeping the aliasing at minimum thanks to the intelligent oversampling up to 4x.
HoRNet Valvola comes with an hardware accelerated graphic interface that is completely resizable and drawn using vectorial techniques so that it looks sharp and perfect on every monitor size.
Tube circuit emulation using electrical simulation.
Seven different tube types including triodes and pentodes.
Intelligent oversampling up to 4x.
macOS (10.11 and later) and Windows (Vista and later) support.
Custom digital guitar amp head, featuring a one-knob pedal-style distortion, pre- and power-amplifier gain stages, and a custom tone stack.
The STR-X was built to be a simple but powerful, digitally-oriented guitar amp, one which isn’t based off of any pre-existing analog models. Tonally, it is capable of high gain, modest crunch, and cleaner tones with some added heat.
Mode:The Mode control in the center of the amp changes the crossover point that feeds the pre-amp distortion (after the “X” pedal-style distortion). Normalwill give you a solid low-end, with retained clarity in the mids and highs even when cranked. Thickdrops the crossover point lower, resulting in greater intermodulation of the distorted signal, and a fuzzy tone ready for a sludge or doom sound. Finally, Open separates all of the low-end from the mids and highs for a tight and bright tone, perfect for fast palm-muted playing or any situation where the low-end of the other two modes might be excessive.
X:This mysterious knob works like a one-knob distortion pedal (inspired by the Ibanez Tube Screamer), with filters that focus the tone on the mid-range the further it’s driven—good for an extra bump before the amp, dialing in a lead tone that cuts through everything else, or for tightening the bass on Thick mode while still remaining truly Thick.
Gain:This is the pre-amp drive section, ranging from not-quite-clean to a heavy wall of distortion. At high gain, the texture varies significantly, depending on the Modeused. This stage generates asymmetric distortion and both even and odd harmonics.
Master:This knob provides the output gain of the amp, with added distortion as well. Although not claiming to emulate any particular type of tube, it does generate the symmetric, odd-harmonic distortion you’d expect from pentode tubes. With low pre-amp gain, you can use this knob to dial in fairly clean tones down low, and bright crunch up high.
Dr Phase simulates the epochal MXR Phase 90 phaser pedal introduced in the early 70s and used by countless musicians. It will add movement and character to any instrument. Try it with guitar, bass, synths… even on drums!
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