ZEEK STFU v1.0.4 x64 VST3 AU WiN MACOS [FREE 0 (0)

ZEEK STFU is the best free volume shaper available.

STFU is a super quick to use sidechainer that can be automatically sync’d to host BPM or triggered by MIDI notes and it’s always sample accurate. Using MIDI trigger, you can overcome limitations of very many synth volume envelopes for a myriad of purposes.

STFU can also output CV for use with lots of hosts and modular plugins.

And if that isn’t enough, you can set up 2 separate envelopes and crossfade between them for all sorts of cool stuff.

https://zeeks.app

Acon Digital Multiply Free 1.3.1 (Win/Mac) 0 (0)

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
Amplitude modulation
Frequency modulation
Adjustable pre-delay
Integrated equalizer for the effect signal
Graphical visualization of equalizer frequency response
Undo and redo parameter changes
A/B comparisons
Preset manager
Save, load and categorize user presets

Requirements:
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)

https://acondigital.com/products/multiply/

 

Grain Strain by Full Bucket Music 0 (0)

Grain Strain is a software effect plug-in for Microsoft Windows (VST) and Apple macOS (VST/AU). It is written in native C++ code for high performance and low CPU consumption.

Main features:

  • Flexible grain looping with Sync-to-Host options.
  • Envelopes for both grains and loop iterations (frames).
  • “Grain Vocoder”:
    Grain frequency control via MIDI (up to eight voices).
  • Supports MTS-ESP by ODDSound dynamic micro-tuning.
  • MIDI Learn – all parameters can be controlled by MIDI CC.
  • Plug-in supports Windows and macOS (32-bit and 64-bit).

https://www.fullbucket.de/music/grainstrain.html

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

Reducktion by Dead Duck Software[win][vsti][x86][x64][KVR Challenge] 0 (0)

Dead Duck Reducktion is a 32-voice polyphonic software synthesizer for use in audio hosts that support the VST 2.4 plugin format. It available for Windows operating systems in both 32-bit and 64-bit versions.

Features

Three multi-mode oscillators:

  • Wave: continuously variable between saw, square, triangle and sine waveforms.
  • Pulse: pulse wave with variable width from 0 to 100%.
  • FM: sine wave FM with carrier and two modulators.

Full stereo output with oscillator pan and stereo noise options.

Up to 8-voice unison detune with mix and stereo spread controls.

Two resonant filters:

  • 24 dB/oct low pass with self-oscillation.
  • 12 db/oct low pass, high pass, band pass, band stop and peaking.

Three ADSR envelopes.

Three flexible LFOs:

  • Triangle, sine, square, saw and random outputs.
  • Tempo-sync, free-running, phase and attack time.

A 12-slot modulation matrix.

Built in drive, EQ, chorus, delay and reverb effects.

16-step arpeggiator/sequencer:

  • Up, down and up/down arpeggiator modes.
  • Sequencer-controlled note, velocity and note length.
  • Variable step count and tempo-based step times from 1/32T to 1/1D.
  • Two modulation sources with stepped or smoothed output options.

MIDI learn for easy assignment of hardware controllers.

File-based preset system for easy management and sharing.

Resizeable user interface with 100%, 150% and 200% scaling options.

User-definable themes for easy customisation.

Installation

Reducktion is provided as a simple zip-file package; for a quick and easy installation simply extract the contents to a plugin folder that is write-accessible by your host.

For more detailed setup instructions see the User Guide included in the distribution package.

DRS0 by Wusik 1 (1)

DRS0 is an advanced drum machine /sampler.
  • 4 Tracks + 1 Accent Track. 32 steps + double steps for a total of 128 steps (using the AB variations).
  • 4 patterns with N loop and Next Pattern option (plus a go-to-previous-pattern option).
  • A B Variations.
  • Mirror Editing – allows both A B variations to be edited once.
  • Each track can load multiple audio sounds (wav, flac, ogg, mp3, WusikSound) with speed (pitch) and reverse option. Plus volume, pan, attack and decay.
  • Sounds can be triggered together or in Round Robin (circular) or Random (with a special code that doesn’t play the same sound in a row).
  • When loading multiple sounds, you can adjust individually the Volume and Pan of each sound, plus Velocity Low and High.
  • MIDI Output selection per track (if your host/daw supports it) with note selection (Channel 10 only).
  • Includes a great selection of sound files (be sure to download the 400 meg selection here).
  • Clock Matrix allows swing to be added to the sequencer clock.
  • Multiple Sync options and Remote Pattern Selections.
  • Resizeable interface.
  • Advanced multi-sound playback options.

free

TAL-NoiseMaker by Tal Sofware 0 (0)

TAL-NoiseMaker is an improved version of TAL-Elek7ro and has a completely new synth engine and a lot of improvements in sound and usability. The synth also includes a small effect section with a reverb, chorus and a simple bit crusher effect.
A display shows the knob and slider values. This allows more control over the synth. A ringmodulator and a syncable triangle are also part of this synth. TAL-NoiseMaker includes new filter types as the self resonating 6dB low pass and a notch filter. Its improved amplitude ADSR is very suitable for slow pads as for really fast envelopes. 128 factory presets included, 80 made by Frank “Xenox” Neumann / Particular – Sound

FEATURES

  • 3 Oscillators
    Osc 1, +- 24 semitones, fine tune, phase control (saw, pulse, noise).
    Osc 2, +- 24 semitones, fine tune, phase control (saw, rectangle, triangle, sine).
    Sub Osc (rectangle).
  • Osc 1 PM for pulse waveform.
  • Osc 2 FM controled by Osc 1.
  • Osc 1 & Osc 2 sync to sub osc (saw, pulse, rectangle, triangle(bipolar sync)).
  • Adjustable master tune and transpose.
  • Up to 6 voices.
  • Portamento in mono and poly mode (off, auto, on).
  • Ringmod modulates Osc 1 with Osc 2
  • Self resonating 4x oversampled filters (24 dB LP, 18 dB LP, 12 dB LP, 6 dB LP, 12 dB HP, 12 dB BP, Notch)
  • Filter ADSR (negative and positive)
  • Volume ADSR
  • Routable ADSR, modulates Filter, Osc 1, Osc 2, PW, FM (negative and positive)
  • 2 LFO’s with different running modes: free, sync to host, triggered by note.
    Modulates filter, osc 1, osc 2, fm, pw, lfo rate, panorama and volume.
    Sine, triangle, saw square, s&h, noise.
    Positive and negative modulation.
    Phase control.
  • Adjustable Velocity dependent control over volume filtercontour and cutoff.
  • Adjustable Pitch Wheel control over Cutoff and Pitch.
  • One pole HP filter.
  • Detune, detunes notes randomly.
  • Juno chorus with different modes.
  • A built in reverb.
  • A built in delay.
  • Adjustable filter drive.
  • Bitcrusher, affects osc 1 and osc 2. Its a pre the filter stage effect.
  • Midi learn for all knobs.
  • Panic button.
  • Easy to use, no hidden panels.
  • 256 great presets (Presets by Frank “Xenox” Neumann / Particular – SoundThe Unshushable CoktorAlexandra Sendy, TAL, Patrick Kunz

Requirements:
Windows: Windows 7 or higher (64 bit host)

OS X: 10.9 or higher (64 bit host). Universal Binary 2 with native Apple M1 support.

AAX: Pro Tools 10.3.6 or higher (64 bit).

LINUX: 64 bit / Ubuntu 18 or similar.

https://tal-software.com/products/tal-noisemaker

Voxengo MSED 3.5 Win/Mac (Free) 0 (0)

MSED is a professional audio encoder-decoder AAX, AudioUnit and VST plugin for mid-side processing which is able to encode (split) the incoming stereo signal into two components: mid-side pair, and vice versa: decode mid-side signal pair into stereo signal.

MSED is also able to work in the “inline” mode with the ability to adjust mid and side channels’ gain and panning without the need of using two plugin instances in sequence.
MSED can be used to flip the phase of the mid and side channels by 180 degrees, and swap the stereo channels, and to extract the mid or side channel.
MSED features the “plasma” vector scope, stereo correlation and balance meters which make it easier to monitor the stereo information present in the audio signal.

Faetures:
Mid-side encoder and decoder
Inline mode
“Plasma” vector scope
Stereo correlation and balance meters
Input channel swapping
180-degree phase flipping
Mid-side panning
Preset manager
Undo/redo history
A/B comparisons
Contextual hint messages
All sample rates support
Zero processing latency
User interface color schemes
Resizable user interface
Retina and HighDPI support

Compatibility
This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification. Plugins with AAX version available can be loaded in ProTools 12+.

This plugin is compatible with Windows (32- and 64-bit Windows XP, Vista, 7, 8, 10 and later versions) and macOS (10.7 and later versions, 64-bit Intel processor-based) computers (2.5 GHz dual-core or faster processor with at least 4 GB of system RAM, SSE4.2 instructions support required, e.g. any Intel Core i-, AMD Bulldozer- or Zen-based processor). A separate binary distribution file is available for each target computer platform and audio plugin specification.

Compatible Windows and macOS plugin software: Cubase, Logic Pro, ProTools, Ableton Live, Reaper, Presonus Studio One, FL Studio, Cakewalk, Nuendo, WaveLab, GarageBand, Vegas, SoundForge, Audition, Samplitude, Digital Performer, Mixcraft, Bitwig Studio, Edius, others.

If you cannot get plugin to work on macOS High Sierra/Mojave, you have to logout from the system and login again, it’s a known issue not caused by plugin’s own bug.

https://www.voxengo.com/product/msed/

VoxengoMSED.35

 

MV’s Plugins has La Voz Cantante, free 1024-band vocoder for Windows 0 (0)

An FFT-based 1024-channel vocoder. The modulator input – usually a sung or simpjy spoken voice – is analyzed with respect to its spectral content, which is then applied to the other sound source. The latter may be any externally supplied signal ranging from pink noise, synth pads, guitar or even drums. Alternatively, there is an internal, MIDI driven synth which is optimized for best speech reproduction fidelity. You can blend the high frequencies with noise for natural-sounding sibilants. There is also a noise gate, a compressor and a stereo reverb on board.

Here is a summary of La Voz Cantante’s features:

  • FFT based 1024-channel vocoder.
  • Stereo inputs for carrier and modulator, respectively.
  • Optional MIDI input to drive internal synth as carrier.
  • Polyphony with unlimited number of voices.
  • Up to three voices per note with adjustable relative detuning and stereo width.
  • Octave, semitone and fine tuning controls.
  • Option of noise blending for improved sibilant formation.
  • Built-in modulator noise gate with indicator.
  • Built-in soft knee limiter with color-coded LED indicator.
  • Built-in stereo reverb.
  • Master volume control with output clipping indicator.
  • LED indicators for inputs and outputs for quick check of signal routing.

New in Version 6.4:

  • 64-bit plugin version available.
  • VST3 plugin version available.
  • Extended modulator pitch range down to G#1.
  • Faster sibilant detector.
  • Improved voiced/unvoiced transitions.
  • Symmetric-crest output waveform.
  • Reverb uses velvet noise.
  • Consistent preset names.
  • Optimizations and bug fixes.

New in Version 6B:

  • Increased resolution to 1024 channels.
  • Full stereo processing.
  • Reduced latency.
  • Report latency to host.
  • GUI rework.
  • Reworked sibilant management (much improved!).
  • Internal synth dynamic response.
  • Hide ADSR controls.
  • Added portamento.
  • Added delayed vibrato option.
  • New reverb powered by MVerb 7B engine (much improved!).
  • Optimizations and bug fixes.

https://www.kvraudio.com/product/la-voz-cantante-by-mvs-plugins

lavozcantante6.4 (1)

Togu Audio Line TAL-Chorus-LX v1.6.0 x64 VST VST3 AU AAX WiN MACOS LiNUX [FREE] 0 (0)

 

TAL-Chorus-LX is a 1:1 standalone version of the chorus implemented in TAL-U-NO-LX.
FEATURES
Characteristics of the Juno-60 chorus.
2 different modes.
Dry/Wet control.
Volume knob.
Only stereo channels supported.

Requirements:
Windows: Windows 7 or higher (64 bit host)

OS X: 10.9 or higher (64 bit host). Universal Binary 2 with native Apple M1 support.

AAX: Pro Tools 10.3.6 or higher (64 bit).

LINUX: 64 bit / Ubuntu 18 or similar.

https://tal-software.com/products/tal-chorus-lx

Tal-Chorus-LX