Husserl2 Mocha Edition by Yofiel 0 (0)


A 32-voice complex waveset synthesizer with 5D filter,
internal 151×143 modulation matrix, and more

The Mocha Edition enhances Husserl2 with a more soothing, less vibrant interface. Husserl2 continues to aim to be one of the best free synths you can get. It took a couple of years to make, but I am retired and have no need for more money, so it will stay free. This is not a ‘beta buggy’ version to build a customer base before I start selling it. It will stay free. And I do not require registration or email to download it, which apparently is very unusual these days.

Because Husserl2 takes advantage of all the cores available on your machine, it cannot run inside plugin hosts, which only support one core thread per plugin. As a result, this is a standalone app with native, ASIO, and ReWire client drivers for connection to all current standard DAWs. Although the app includes anti-aliased oscillators and a 4x-oversampled filter, for professional applications a sample rate of at least 88kHz is recommended to provide crisp results in the C8 octave, but if you only play to C7 then standard sample rates are sufficient.

Features include:

  • Fully Compiled 64-bit Multithreaded Audio Path, carefully optimized for performance without sacrificing quality.
  • Up to 32 voices with custom LRU voice allocator; base CPU usage ~10%, +1% per playing voice, on 4GHz i7 @44.1kHz sample rate with Windows10 DirectX drivers.
  • 2 Oscillators with dual contour, phase, ring modulation, frequency modulation, oscillator mix, plus gate/osc sync controls. EPTR-antialiased square/pulse and saw/triangle waveforms are followed by 44 wavesets, including filter sweeps, morphs, formants, and harmonic bundles. The dual-axis spline-interpolated wavesets contain 127 tables of 256 sample points for each continuously variable waveform.
  • ‘5d’ SVF Filter with continuously variable cutoff, resonance, 0/2/4 pole mix, LP/BP/HP mix, and 4x-oversampled saturation provides a virtual infinite sound palette.
  • Compressor and limiter with polyphonic and monophonic modes.
  • Internal Modulation Matrix with 143 modulation destinations and 151 sources including:
    • 3 ADSR Envelopes with graphical control of velocity shaping.
    • 3 LFOs: two polyphonic, one monophonic linked to mod wheel; sine/double-sine, square/pulse, saw/tri, stepped, and random with contour shaping, freq mod, amp mod, and sync.
    • Sample and Hold with trigger-level control.
    • XY Pad to mix up to four modulation sources to any modulation destination.
    • 120 Mapped MIDI Controllers, plus bend, modwheel + LFO, note pitch, velocity, and #notes.
  • 50 Microtuning Tables.
  • Preset Manager with simple button controls, preset naming, and bank load/save.
  • Lots of Demo Presets. Notes may be stored and recalled with presets too.
  • MIDI file player built in, with channel selection.
  • MIDI I/O: note on/off, MIDI clock, program change, pitch bend, all 90 panel controls, and standard MIDI controllers such as pedals, etc.
  • Optimized Graphical Display of oscillator waveforms, output waveform, filter curve, and modulation values for most recent voice; velocity display of all active voices.
  • Resizable Panel. Zoom in or out as much as you like. Synth reopens the way you closed it.
  • Interactive Help built in for wavesets, filter characteristics, microtuning tables, and with complete description of all panel controls.
  • Open Source distribution in Cycling74 Max8, if you wish to change it in any way. sacrificing quality.

Husserl2 Mocha Edition by Yofiel is a Virtual Instrument Audio Plugin and a Standalone Application for Windows. It functions as a Rack Extension Plugin and a Standalone Application. It supports ReWire.

Variety Of Sound FerricTDS mkII free tape plugin for Windows 0 (0)


FerricTDS mkII introduces operating level calibration for better gain staging and output volume compensated processing.

The update also includes the following changes:

– Metering ballistics revised and aligned accordingly.
– Updated tape compression algorithms increasing punch, adding 2nd order harmonic processing, less IMD.
– Updated limiter algorithm featuring ADC style converter clipping.
– All non-linearities are running at higher sampling frequencies internally.
– Adding a sophisticated analog signal path emulation.

The plugin is free to download for Windows as a 32- and 64-bit VST plugin.


U-he Zebralette v2.9.3 x64 x86 VST VST3 AU AAX WiN MAC LiNUX [FREE] 5 (1)


Zebralette: easy spectral synth
Zebralette is our version of a Trojan horse. A free synthesizer and an introduction to Zebra2’s fantastic oscillators. Perhaps it will persuade you to try Zebra2 and upgrade. If one oscillator is this powerful, imagine what you can achieve with four… and all the other great features available in Zebra2.


• A single Zebra2 oscillator with a 16-slot waveset. Read more below
• Oscillator waveform editing with geomorph, spectromorph, geoblend and spectroblend modes. Read more below
• 24 spectral effects including filter, sync, scatter, phase distortion and many more
• Polyphonic (up to 16 voices), monophonic and legato modes
• Stereo VCA with pan and volume modulation
• VCA oscillator stacking with adjustable stereo width: single, dual, quad and eleven modes
• ADSR envelope with fall/rise (sustain slope) and velocity controls
• Modulation options including: modwheel, velocity, pressure, breath, key follow, gate and more
• 2 LFOs: one global, one per voice
• A 32-stage MSEG (multi-stage envelope generator)
• 3 built-in effects: chorus/phaser, EQ, delay
• MIDI learn / unlearn of hardware controls (CC)
• Polyphonic aftertouch support
• 300 factory presets
• Scalable UI from 70% to 200%
• NEW in v2.9.3: Support for Oddsound MTS-ESP

What is a Zebralette?

-ette: an English suffix indicating a diminutive form
Zebralette is an introduction to Zebra2’s powerful oscillators. Zebra2 can seem overwhelming at first glance, so we stripped it down to a single oscillator plus a few other features and created Zebralette, the little Zebra. Once you master Zebralette you can move up to Zebra2 with confidence. And your presets can come with you, as Zebralette presets can be opened in Zebra2.

But more than a teaching tool, Zebralette is an incredible sounding synth in its own right. Surrounding Zebra’s spectral oscillator with a few core modulation options and effects make Zebralette highly capable. With unsion options (think supersaw, but Zebralette is not limited to saw waves, so we refer to it as superwave), 16 voice polyphony and two different envelopes, you have everything needed to create some marvellously complex sounds.

Diminutive? Yes. Powerful? Yes.

Zebra oscillator
One oscillator may not seem like enough for a synthesizer, but Zebra2 oscillators are rather powerful and clever.

It resembles many other oscillators you may have used. You can choose a waveset from the included library, or use the waveform editor to draw your own shapes. Here is where things start to get interesting: The Waveform Editor manages up to 16 different waves and lets you rearrange, duplicate and morph between individual waves. Use one of modulation sources and the WaveWarp control to scan through the 16 waves and create unusual, dynamic sounds.

There are four drawing modes: GeoMorph, SpectroMorph, GeoBlend, SpectroBlend, each offering a different approach to creating and manipulating waveforms.

Using the two Geo modes you draw the waveform shape using up to 32 points, while the Spectro modes let you create the harmonic spectrum over 128 columns. When using WaveWarp to scan through the waveset, Morph alters the waveform, whereas Blend blends (crossfades) between adjacent waves.

• Apple OS X 10.9 or newer
• Windows 7 or newer
• Linux

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

Zebralette is not a standalone product, it requires host software. Zebralette is compatible with nearly all DAWs.

• AUv2, VST2, VST3, 64-bit only
• temporarily no AAX (read more)

• VST2, VST3, AAX*
• 32-/64-bit
* AAX requires Pro Tools 10.3.7 or later

Zebralette 2.9.3 (revision 12092)

Native M1 ARM support

• Native support for Apple Silicon chips (M1)
• Improved GUI performance (Mac only)
• Support for Oddsound MTS-ESP
• Improved handling of junction links on Windows
• Preset list scroll direction preference

Fixed Bugs:
• Fixed some old Zebralette presets not loading in Zebra2
• Fixed multiple things in preset browser
• Fixed crash when loading script presets (e.g. Randomizer)
• Fixed rare crash on project reload
• Fixed audio clicks when switching presets

Known Issues:
• Context menus need plugin focus to work (Apple issue)

Special Notes:
• 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

CX5M-V by Digital Systemic Emulation 0 (0)


CX5M-V is an emulation about the 1984 Yamaha CX5M and 1985 Yamaha CX5M-II. (Almost identical).

The CX5M incorporates a classic Yamaha FM sound process, using 4 operators and 8 algorithms. It also includes the Yamaha-type feedback, which routes the output of an operator to its own input.

Referring to Fourier Series, an important feedback will generate a Sawtooth spectrum, but with important Gibbs distortion. Due to some approximations, the feedback effect is hard to reproduce. SynthEdit – that was used to develop this software – cannot run instant feedback loops, so I had to use a special third party module from Elena Design.

This module uses Lagrange polynominal cubic interpolations, so we can’t obtain a perfect sine. In FM, every single harmonic plays an important role as it sometimes modulates to high coefficients other harmonics. Yet as at the beginning we don’t have a perfect sine, the result differs from a true DX-type Feedback process.

Though I tried to correct the feedback spectrum using butterworth filters, that better fits the original behavior. Anyway, because of this issue, some differences can be heard when comparing this software with an original unit, as feedback rate goes over 50%. This specific module isn’t available for Mac, so that’s why this software is Windows-only (And 64-bits).

The original CX5M runs on a 3.58 Mhz processor, in 8 bits. As a result, strong aliasing can be heard on low frequencies. I have recreated this distortion the very same way it sounds on an actual CX5M. Since it runs on 8 bits, the envelopes are not perfectly smooth. On long attacks/releases, you can hear steps – this was recreated in this plugin too.

Regarding envelopes, the CX5M had an ADSDR outline, that I changed to ADSR + Delay, to my mind more interesting. The CX5M also provided a weird HF attenuator/envelope shortener parameter, that I changed into a low pass gatted filter, as the original idea was too complicated for pretty useless results.

The volume adjustment parameter was deleted (it wasn’t even used in factory presets). Same for a FM noise generator thing on OP1 – it wasn’t used again (And I never succeeded to activate it – but the results are identical to max feedback effect). Finally, LFO was simplified from a useless distinction of PMD/PMS and AMD/AMS.

Prime Studio CHARLY 2 v1.40 VST, AAX, AU WIN.OSX [FREE] 0 (0)

Prime Studio® (powered by Acustica Audio) Charly is a summing tool based on an analogue tube device that has been modified according to our specifications. Charly refines signals with fine tube character and analog punch adding harmonic distortion.

Description from the previous version:

Charly is perfect to rhythmically enhance drum loops, to bring to life dull and boring sounds, as well as to fatten loops and mixes.

Its simplicity translates into an output gain divided between -10dB and +10dB, an on/off switch button which turns on the plugin or sets it in bypass mode, and a couple of left/right VU meters that measure the stereo input level. All the magic is done by the output gain rotary knob; it acts like a stereo enhancer and adds a slight compression and reverb. The amplification is made without distortions and artifacts.

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).

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.

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.

Swamp XT by HG Fortune[win][x86][vsti] 5 (1)

Swamp XT is a timbre modulation synthesizer. It can create unique sounds from clear & harsh metallic sequenced sounds to soft & wide modulated Pads. This is achieved by modulating the timbre on the oscillator level.

Swamp XT features ‘Timbre-modulation’: It processes each oscillator’s waveform in a very unique way by changing (i.e. enriching or limiting) the harmonic spectrum making the sound fatter, wider or narrower, right down to nearly dissolving it to some kind of distorted noise, depending on the input wave.

While the original Swamp had an oscillator routing to balance its output between normal (i.e. direct signal) and timbre modulated signal, which could each be balanced to go to direct out or to filter, this has been simplified in Swamp XT: direct und timbre modulated signal can be balance mixed to one signal and the output of both oscillators can be balance mixed too. While the direct and filtered signal can be balanced at the amplifier stage of Swamp XT.

Swamp XT delivers a wide variety of sounds – including some really strange and weird.

  • 2 digital oscillators running at a time to be selected from:– 2 PCM wave oscillators powered by 128 different waveforms.
    – 2 additive wavetable generators to create various waves from up to 31 partials.
  • 1 resonant filter (24db Lowpass).
  • 4 ADSR-style envelope generators.
  • X-Torsion, one Spook effect, one Gator (Gater) effect.
  • 4 LFO (BPM-synced).
  • 1 dedicated Pitch LFO (BPM-synced).
  • 1 Sample & Hold (BPM-synced).
  • 1 BPM-synced Delay.
  • XY Super-modulation Pad.

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