Analog Obsession LALA v2.1 VST VST3 AU WiN MACOS [FREE] 0 (0)

LALA

LALA update is ready to go with new features, improved DSP, alternative skins and more!

Features

– PEAK REDUCTION: Simply, it’s threshold setting. Will set you compression level.

– GAIN: Make up gain

– LIMIT: When you engage, it will work as limiter. Otherwise, it will react as compressor.

– EXT: External side chain option. You will still be to use sidechain filter with external sidechain.

– HPF: Will cut low end.

– MF / MG: – Will set sensitivity of compressor for mid frequencies.

– HF – Will set sensitivity of compressor for high frequencies (Enhanced version of original unit’s R37 setting)

– ANALOG OBSESSION LOGO: Oversampling. It will turn to red when oversampling is engaged. Also, show you a notification.

– POWER: Bypass button

Available Formats

VST/VST3/AU | Mac 10.9 – 11.X

VST/VST3 | Windows 7 – 8 – 10

VERSION 2.1 – 27.4.2021

– Fixed oversampling

– Fixed multi-instance audio drop

VERSION 2.0 – 24.4.2021

– Improved DSP with closer hardware finger-print

– 4x Oversampling Feature

– Retina/HiDPI

– Added Readout Feature for knobs

Special thanks to “Eugene Reznik” for GUI work!

Patreon

A2M real-time Audio to MIDI by beat bars 0 (0)

A2M detects the pitch of the audio and converts it into the corresponding MIDI notes in real time.

Thanks to this, you can play, e.g., the guitar, saxophone, or even sing, and simultaneously trigger sounds in virtual instruments (not only AU). These acoustic (or electric) instruments, or your voice, act as a MIDI controller.

A2M comes as an AU v3 plugin and as a standalone application (which is the AU host for this particular plugin).

The A2M is quite an unusual Audio Unit – it is both an audio effect and a MIDI effect. Due to its characteristics, it is something in between. On the one hand, it analyzes the input sound, just like any audio effect. On the other hand, it generates output MIDI events, just like any MIDI effect.

Compatibility

⁌ AUv3 plugin.

AU Hosts compatible with A2M Audio Unit:

  • Audiobus.
  • AUM.
  • apeMatrix.

A2M does not work as an AU plugin in GarageBand – on both iOS and MacOS.

A2M works (though imperfectly) as an AU plugin in Logic Pro (see below).

⁌ Standalone.

The standalone version works with all MIDI-compatible applications, including GarageBand (iOS and macOS) and Logic Pro. The app sends MIDI events via the virtual MIDI port. Active and inactive MIDI ports are available in the application settings in the MIDI Settings Outputs section.

Parameters

⁌ Host:

  • Audio input buffer size.

The smaller the buffer, the higher the CPU load and the lower the latency.
A buffer less than 512 should only be set if you have a strong processor.
For A2M standalone applications, the buffer size is available in the application settings under Audio Settings Buffer Size.

⁌ Plugin:

  • Pitch recognition method.

A2M offers two popular algorithms.

Based on autocorrelation, the beat bars proprietary method.

– FFT (with parabolic interpolation).

– Gate Threshold and Input Gain
A2M works best when it only recognizes sounds at an appropriate volume level.

To eliminate unnecessary background noises, select the appropriate value:

  • Latency / Accuracy.

2 dashes (default) – the best compromise between accuracy and latency.
The higher the accuracy, the more of the CPU’s capacity is used and the longer the latency (as opposed to the audio buffer size settings):

  • Velocity Gain.

It allows you to select the appropriate volume of the virtual instrument itself.

Known limitations in the current version:

  • No polyphony.
  • No pitch bending.

Requirements:

  • macOS 11 Big Sur or later.
  • iOS 14 or later.

https://beatbars.com/de/a2m-au.html

Vastaus Is A FREE High-Frequency Enhancer Plugin By Wavegrove 0 (0)

Vastaus lives on instrument channels, buses and it is known to have been spotted on the master channel too. Feel free to use and abuse it. Try to add an EQ before Vastaus and push the highs way overboard and how Vastaus reacts.

It is at it’s most neutral at Input Gain and Tame at 0, at which time it brings down and blocks overly harsh high frequencies present in vocal esses, smooths cymbals, guitars and pretty much anything you throw at it.

Increasing Tame brings enhances that effect, but also brings in more options with the React switch, as well as with the Bias setting. React is a mode, where Tame starts to let through some transients in a really interesting way, bringing out more detail and clarity, but still smoothing the sound. With Bias, you can further control the sound by limiting the effect to either the positive or negative side of the audio samples, generating harmonics in the process. I have heard this referred to as silky, and apparently some well-known hardware unit makers use a process similar to this.

Lastly there is Gain. With the Input Gain, you control the overall signal boost you get going into the thing, while the Output Gain works as a pad, with 100% level adding no additional volume. Boosting the input gain can bring additional high end to the signal after taming it, which is especially useful with instruments such as the electric guitar. In conjunction with the use of the Bias knob, Vastaus can even act as a leveling tool, which also boosts and extends the high end frequencies far above where they ended in the original signal.

Use the Wet knob to blend the changed signal with the original in whatever way you want.

Patreon

 

Bedroom Compressor by ViatorDSP 0 (0)

Bedroom Compressor is a a diode bridge-based compressor.

This compressor has some great features like a blend knob and a high-pass filter side-chain. This compressor expects a signal in dBU’s, so -18 to -15 is the sweet spot!  It is based on a famous channel strip re-issue.

  • Make-Up Gain – Output volume control to make up for the compressed signal.
  • High-Pass Filter – High-pass filter with a cutoff range between 20 to 350 Hz.
  • High-Pass Side-Chain – Toggle between the filter in input mode or side-chain mode. In filter mode (button off), the filter will act like a normal filter on the input. In side-chain mode (button on),  the filter will only affect the signal that the threshold checks, which means you can filter out bass from the threshold so that it doesn’t hit the compressor as hard, but the bass will still pass through. This is great if you want to compress your drums without the kick affecting the compression amount.
  • In Button – Turns the compressor on or off.
  • Threshold – What level the compressor kicks in.
  • Ratio – How much the signal is turned down when compressed.
  • Speed – Combination of attack and release parameters, from slow – auto.
  • Blend – Mix between the dry and compressed signal.

Patreon

STR-X by Arboreal Audio 0 (0)

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). Normal will give you a solid low-end, with retained clarity in the mids and highs even when cranked. Thick drops 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 Mode used. 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.

New In v1.1::

  • Mac OS X Catalina/Big Sur and M1 Mac Support.
  • 4x oversampling with option for higher-quality, linear phase oversampling when rendering.
  • “De-kinked” preamp distortion algorithm for more accurate asymmetrical distortion.
  • Expanded range of tone controls.
  • Allow option for using v1.0 tone controls.
  • Fully resizable GUI (VST3 only).

https://arborealaudio.com/2021/07/11/str-x-v1-1/

VariMoon by Analog Obsession – VST, VST3, AU (WIN / OSX) 0 (0)

VariMoon

Famous 600 Style Vari-Mu Compressor/Limiter with extra features!

Features

– Input Atten: -18 to +18dB range. Internally compensated input knob to drive circuit and get more or less compression.

– Release: 6 selectable release time with their own compression curves.

Position 1: 0.3sec

Position 2: 0.8sec

Position 3: 2.0sec

Position 4: 5.0sec

Position 5: 2/10sec (Auto-Release up to your signal)

Position 6: 0.3/10/25sec (Auto-Release up to your signal)

– DC Threshold: No confusion! It’s working like regular ratio. 2:1 to 10:1

– AC Threshold: No confusion, again! It’s working like regular threshold with 50dB range.

– OUTPUT: -18 to +18dB Make-Up Gain to compensate compressed signal

– MIX: Will let you blend compressed and dry signal.

– HPF: 20 to 500Hz HPF to keep low frequencies from sidechain circuit. So, compressor won’t touch to low-end.

– EXT-SC: This will let you use external signal to compressed input signal.

– BIG ORANGE BUTTON: Plugin Bypass

– ANALOG OBSESSION (LABEL): Oversample

Fixed Attack Time: 10ms

22/6/2021 – v5.0 Update

– Improved DSP and circuit design

– Added 4x oversampling

– Readout for knobs

– Redesigned GUI

– Catalina & Big Sur(Intel/M1) support

Available Formats

VST/VST3/AU | Mac 10.9 – 11.X

VST/VST3 | Windows 7 – 8 – 10

Patreon

CHANNEV by Analog Obsession 0 (0)

Here is CHANNEV!

Ultimate channel-strip with Mic Preamp, De-Esser, Line-Amp, 4 band equalizer, Compressor, Limiter and Tape Saturation!

Features

– Simple trim screw on preamp section will set input level.

– Mic preamp with 60dB Virtual Gain, PAD, and Phase Invert. Also, Pre-EQ (Low Shelf/High Shelf) and HPF/LPF.

– De-Esser with Bell and Soft options. It will help you to tame highs!

– 4 Band 81 Style Eq with variable frequency instead limited selectable frequencies. While Low and High bands have bell option, mid bands have Hi-Q option. Also, included Post-Filter same as Pre-Filter.

– Limiter and Compressor based on 2264 but now totally independent and each has its own external side-chain.

– Latest module is Tape Saturation. It will help you add tape saturation and glue overall signal.

– Fixed 2X light oversampling to keep CPU lower

You can see “ROUTING” to understand signal-chain.

Available Formats

VST/VST3/AU | Mac 10.9 – 11.X

VST/VST3 | Windows 7 – 8 – 10

VERSION 1.2 – 9.7.2021

– Added input trim

– Minor bug fixes

VERSION 1.1 – 8.7.2021

– Fixed Limiter Dry/Wet knob

Patreon

FKFX Influx by FKFX 0 (0)

FKFX Influx is a modulated distortion / resonator.
Called as an instant “Sonic Retox” engine, the resonator module (FLUX) goes thru a Low Pass and a Tube distortion. Flux resonator Note and Dry/Wet have their dedicated editors.


FKFX Influx lets you create new grooves from your current input. Selecting “WET ONLY” will output only the transformed part of the signal.

  • Flux Resonator: multi-point LFO Editor on resonator note.
  • Flux Chaos: Resonator realtime re-fuel with audio input.
  • Flux Center Note: Select the root note for the Flux Resonator, with optional MIDI control.
  • Flux Scale Snap: 38 automatic scale modes: Off / Octave / I-V / I-IV / I-IV-V / Tetratonic / Tetratonic minor / Tritonic / Major Pentatonic / Suspended Pentatonic / Blues Minor Pentatonic / Blues Major Pentatonic / Minor Pentatonic / Miyako-Bushi / Iwato / Hirajoshi / Insen / Whole Tone / Blues Common / Enigmatic / Persian / Ionian / Dorian / Phrygian / Lydian / Mixolydian / Aeolian / Locrian / Harmonic Minor / Melodic Minor / Phrygian 6 / Lydian Augmented / Lydian Dominant / Mixolydian b6 / Locrian 2 / Altered Min Scale / Harmonic Major / Chromatic.
  • Flux Stereo: adds stereo pitch shift between left and right Flux Resonator.
  • Flux LFO: controls Low Pass Filter.
  • LFO Rate: From 4 Bars to 16th, with polyrhythmic rate (i.e. 5th, 7th).
  • Low Pass Filter: can be controlled with Flux Resonator LFO.
  • 16 Waveshapers
  • Tube Distortion
  • Low Cut Filter: Remove low rumble from signal.
  • Gain: Sets post distortion gain, 48dB/+48dB, exponential.
  • Dry/Wet Maximum
  • Dry/Wet LFO Editor
  • WET ONLY switch: get only the resonator wet signal.
  • FULL WET button, with extra strike animation.
  • Editor Tools: Smooth, Normalize, Flip, Chop, Roll, Pencils, snap modes, etc..
  • Editor Modes: Point edit mode, and a global Select Mode.
  • Preferences on OpenGL animations, MIDI Note, MIDI Thru.
  • Vumeters: Input and Output Vu Meter.
  • Preset Manager.Preset Locking option: Locks part of the plugin, so to stay unchanged on preset load.

https://www.patreon.com/posts/fkfx-influx-free-53221341

Olitanh by John Crosby Acoustics 0 (0)

Olitanh – Vintage Vibe Compressor.

Distortion coupled with compressor brings interdependent wave-shaping and envelope-shaping. Controlled adding of harmonics. Level boosting and stereo enhancing.

Good for “warming up” bass instruments, guitars and vocals, or for “gluing” stereo mixes and groups.

List of parameters:

  • Drive, 0-40 db of gain to Tanh curve waveshaper.
  • Power, .25-4 tilts distortion curve from soft to hard.
  • Threshold, -18-0 db sensitivity of the compressor from low to off.
  • VU, 0-1000 peak detection response from modern to vintage.
  • Attack, 0-1000 speed of gain reduction from fast to slow.
  • Gap, 0-9 db offset between gain reduction and gain recovery.
  • Release, 0-1000 speed of gain recovery from fast to slow.
  • Knee, .25-4 response of the compressor from soft to hard.
  • Link, 0-100 % linking of the compressor’s LRMS channels.
  • Para, 0-100 % mix of the compressor from off to full.
  • Filter, 0-100 % Low Pass filtering from dark to off.
  • Mix, 0-200 % from Dry to Wet and to Solo Effect.
  • 1/8, switch between none or 8 times oversampled processing.

Principle of operation

From Left-Right stereo signal Mid and Side signals are also extracted, then each of the four channels passes through 8x Upsampler, Gain Reduction Unit, Tanh waveshaper, Level Detection Unit, Filter, Downsampler and than all four channels are mixed to Left and Right output.

Set the desired amount of peak limiting, harmonic generation or distortion (Drive). Change type of the distortion (Power). Control the distortion of loud notes (Threshold). Control the responsiveness of the compressor (Attack, Release, VU, Gap, Knee and Para). Enhance stereo image (Link). Darken the distorted part of the signal (Filter). Move Mix knob towards 0% in order to lessen the effect, to bring back some original dynamics or just to compare with the input signal. Move Mix knob to 150% in order to strengthen the effect and ease settings of the parameters. Mix 200% can be useful in parallel chains of processors, but in most cases Mix should be at 100%.

The story behind

Olitanh was made using iPlug2 C++ framework, and it evolved from Oli Larkin’s Oversampling Example. At first, it was just an exercise of adapting it from Mono to multichannel LRMS Stereo, but as I started to like its softness and was using it more and more in my daily productions, it deserved an upgrade. Power knob to bend the soft knee of Tanh curve. Filter knob to tame the highest harmonics and further decrease aliasing. The Compressor story. When I was excited about how versatile Olitanh became, it occurred to me that this would be just the right type of waveshaper to answer the common question: “Should I plug distortion after compressor or before?” As both answers have its own merits and its own flaws, the best of both worlds brings Olitanh – feedback compressor – where Compressor’s Level Detection Unit monitors Distortion’s output, but Compressor’s Gain Reduction Unit reduces Distortion’s input. Interdependent play of wave-shaping and envelope-shaping.

https://www.kvraudio.com/product/olitanh-by-john-crosby-acoustics