TAL-Filter-2 is a host synced filter module with different filter types, panorama and volume modulation possibilities. This can be used for tremolo or trance gate effects. Panorama modulation maybe is useful to pan your percussion, hats or sound effects in the stereo room for more interesting rythms and sounds.
FEATURES
Different modulation types: LP 12dB, BP 12dB, HP 12dB, Pan, Volume
Super clean SVF filter with diode clipper in the feedback path. Capable of self oscillation.
Easy to use spline editor.
Stereo offset for modulation when in filter mode.
Host sync with different sync options (normal, dotted…)
Trigger button sets the modulation position to the start without lose host sync. Can be automated.
Legacy Mode: Just for backward compatibity. Please don’t use if you create something new.
Podolski
Created in 2005 and still going strong. Podolski is a free, straightforward, CPU-efficient virtual analogue synthesizer. One oscillator, one filter, one envelope and an arpeggiator / sequencer. Simple, but with a few tricks up its sleeve. Create high quality sounds with ease.
• Oscillator with variable symmetry (sawtooth to triangle, PWM) and glide
• Polyphonic (up to 16 voices), mono, legato and arpeggiator modes
• 4 envelope modes: ADSR or HDSR, linear or exponential. Sustain has Fall/Rise control
• 2 LFOs: one global, one per voice. Absolute time or host sync, multiple waveforms
• Multimode filter: lowpass, bandpass or highpass with drive and FM
• Combination arpeggiator / 16-step sequencer with extra modulation source
• 2 built-in effects: stereo delay, chorus / flanger
• Resizable UI from 70% to 200%
• Skinnable UI
• Global preferences page
• MIDI learn page and editable list
• Over 300 factory presets
Requirements
• Apple – Mac 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 (Sandy Bridge or newer recommended)
NKS-readyPodolski is Native Instruments NKS-ready and compatible with Maschine and Komplete Kontrol hardware.
New Features
Changelog: Podolski 1.2.2 (revision 9724) Improvements: • Mac installer notarized (Catalina) • NKS compatible • Windows installer improvements • UTF-8 support for installation paths • Improved VST3 implementation • New Preset Browser • Factory presets have been tagged • Drag & drop between browser and system file windows • Improved GUI response time on some Macs (sluggish GUI) • Windows UI performance improved (less CPU load with open GUI) • Mac installer improved to prevent permission issues • User defined MIDI CC sources replace expression and breath • Mouseover shows parameter values in Data Display • Plugin format and OS info shown next to revision number • Init preset can be loaded from Data Display (for Win users: also works via right-click) • Increased maximum number of installed skins from 10 to 20 • Improved handling of 14-bit MIDI CC assignment • Sustain pedal now working according to standard (0-63 = off, 64-127 = on) Fixed Bugs: • Fixed an issue with dialogs appearing transparent in Cubase 10.5 and Logic • Various small fixes and improvements
CHOW Tape is an analog tape machine physical model, originally based on the Sony TC-260. The current version can be used to emulate a wide variety of reel-to-reel tape machines. The physical modelling process is described in a technical paper presented at the 2019 DAFx conference. This work began part of a class project for Music 420 at Stanford University (CCRMA).
CHOW Tape is currently available in the following formats:
SPARTA is a collection of flexible VST audio plug-ins for spatial audio production, reproduction and visualisation, developed primarily by members of the Acoustics Lab at Aalto University, Finland.
In particular, this release sees the addition of 9 new plug-ins:
– compass_binauralVR: essentially, this is the same as the compass_binaural plugin, except it also supports listener translation around the receiver position and multiple simultaneous listeners.
– compass_spatedit: a flexible spatial editing plug-in intended to be used with 2 instances. The first instance you make of the plugin will allow you to specify marker directions and it will output the beamformed signals, which you can then equalise/re-balance/modulate/swap/modify as you wish. These modified signals can then be routed to the second instance of the plug-in. The ambient components of the first plugin are then also sent internally to the second plugin instance. The edited sound-field is then reconstructed and outputted by the second instance of the plugin.
– compass_gravitator: a sound-field focussing plugin affecting only the direct sound components in the sound scene. It essentially pulls sound sources towards user defined marker directions with a certain degree of “gravitational pull”.
– hodirac_binaural: a parametrically enhanced binaural ambisonic decoder, based on the higher-order Directional Audio Coding (HO-DirAC) method
– hodirac_decoder: the loudspeaker decoder variant
– hodirac_upmixer: the ambisonic upmixing variant
– sparta_spreader: a source panner with coherent and incoherent source spreading options. While by default it loads HRIR data for binaural spreading, the approach is quite general; for example, you could also create synthetic microphone array recordings of spread sources if you wish, by simply loading a SOFA file of microphone array IR measurements instead.
– sparta_ambiRoomSim: a basic shoebox room simulator with Ambisonics output, based on the image-source method. Its main niche is that it supports multiple sources and Ambisonic receivers. The output audio for the receivers is stacked up to the 64 channel limit. e.g., you can have up to 16x1st order, 4x3rd order receivers, or 1x7th order receiver.
– sparta_decorrelator: a multi-channel signal decorrelator, which you can use to make reproduced sound scenes more diffuse when applied, e.g., after sparta_ambiDEC on the loudspeaker signals.
June-21 is a Roland Juno / MKS-50 emulation.
June-21 can read and play Juno 1 / 2 MKS-50 presets. The emulator includes Juno 2 factory “Preset” and “Memory” bank tones. Many tones can be found on the web, in a form of a .SYX bulk dump extracted from synths.
The text and schematics are partly inspired by the original Juno-2 documentation. The look of the GUI is obviously inspired by the Roland PG-300.
Nota Bene: June-21 is still in development and is not a perfect emulator, so some tones can be far from the real thing and some won’t work (but some can be very accurate and pleasing!). As of now (Dec 2019) some things are not implemented : Portamento, chord memory, octave transpose : not done yet Aftertouch : won’t be done (at least by me) as my own Juno-2’s aftertouch is not working.
Audacity 3.0.0 is a major update on our previous Audacity 2.4.2. We’ve changed the format in which we save Audacity projects! Previously we saved projects as a sometimes large number of small files, with an ‘.aup’ file to coordinate the lot. This way of doing things is sometimes called ‘pile of files’ storage.
The problem, which happened all too often, was that data files and .aup file parted ways. Users quite reasonably expected the .aup file to contain the entire project. Well, the new .aup3 file does contain the data as well. The technical detail is that we are using an open source database, SQLite3, to store everything in one .aup3 file. That all happens ‘behind the scenes’. SQLite3 is open source, and it is a delight to work with. Nevertheless, this was a huge change, and we decided it was too risky to include many other changes we wanted to make at the same time – so 3.0.0 is almost entirely about this big format change.
Working with .aup3 projects editing audio should on most machines be a little faster than before, because there are fewer files being worked on. Finishing and closing a project at the end of working can be quite a lot slower, since there is more to do when a project is closed. We think the trade offs are worth it.
Importantly note that you can open your older .aup projects in Audacity 3.0.0 where they will be converted to the new .aup3 format.
Label Sounds & Noise Gate
We did have time to improve our ‘Noise Gate’ effect and add a new analyzer, ‘Label Sounds’, that can label sounds and silences. We also made a few small tweaks elsewhere. You can now import and export macros, and there are a couple of new commands for using the last used tool or last used analyzer that you can give shortcuts to.
Bugs fixed
We also fixed over 160 bugs that had been accumulating over the years. This is quite a staggering amount of work. The majority of these bugs were minor problems, easily worked around. Some though were really juicy high priority bugs that would have mattered a lot to the people affected by them. We’re really glad to have these bugs fixed now.
We hope you enjoy using Audacity 3.0.0 as much as we enjoyed putting it together.
HomeCorrupter provides an effect that harks back to a period in which computers weren’t actually that good at handling audio.
The plugin can degrade the resolution of any incoming audio signal by reducing the sampling rate and bit depth. Further lo-fi quality is achieved by reducing the “computers clock speed” which slows down the playback of the input, all on the fly.
All properties can either be automated using the built-in oscillators or can be controlled directly from your DAW.
Think industrial or dark sound design to find a purpose for the plugin.
On playback rate / recording
HomeCorrupter provides up to 30 seconds of recording which gives you plenty of time to slow down the playback to its maximum (e.g. half speed).
Note that once you return the playback rate to the original speed the playback will jump to match the input stream (think of it as aligning the read / write heads on a tape recorder).
This should allow you to create live “record scratches” or “tape machine shutdown” effects while being able to return to the original sound with perfect timing.
Controls
HomeCorrupter is pretty straightforward as you can control sample rate, bit depth and playback rate using their dedicated sliders. Each of these can also be controlled by an LFO. The LFO’s become active once their speed is set above 0 Hz.
You can set the speed between 0 – 10 Hz and control the depth of the sweep for a stronger effect.
Additional to the above you can set the wet/dry mix of the effect using the balance controls
The archive contains VST2 and VST3 plugins for both macOS (10.10/Yosemite and higher) and Windows 10.
Installation instructions are provided inside the archive’s README file.
Linux packages are currently not provided, though you can build from source.
Performer Free is a freeware edition of the Crumar Performer plugin released only for Linux users. It is a stripped-down version with every extra feature removed, leaving just the Performer as it is in real life. It’s available in VST2, VST3 and StandAlone format as a precompiled binary for amd64 (Intel architecture) and armhf (Raspberry Pi4 and compatible boards). The UI dowsizes automatically if the screen resolution is lower than the normal plugin’s UI size, in order to fit smaller displays that can be used with the Raspberry Pi. It’s been tested and proved to work flawlessly under Ubuntu 20.04, Ubuntu 20.10, Raspberry Pi OS running on a Pi 4 with 4 GB RAM, and Raspberry Pi 3 B+.
Inphonik has announced the release of a free bitcrusher effect plugin for Windows, macOS, GNU/Linux, and iOS.
Meet the PCM2612 Retro Decimator Unit, a bitcrusher effect plug-in with a distinctive legacy. Based on the work we made on the RYM2612 Iconic FM Synthesizer, our tribute emulation of the Sega Genesis sound chip, the 8-bit decimation is inherited from the FM synth’s PCM playback feature, packed in a simple and compact effect unit. Bonus: it’s free!
The effect is available in 64-bit VST/VST3, AU and AAX plugin formats, as a Rack Extension for Reason 10.1 and higher, and as an AUv3/IAA app for iOS.
Stochas is a revolutionary new type of step sequencer that has a unique randomization engine. Designed to work either in mono or polyphonic modes the engine will select from a set of user inputted notes and takes into consideration the probability set for each, this means Stochas can be used to create evolving melodies, rich sounding string and synth sections, unique bass lines and even chaotic yet looping drum patterns, perfect for live and recorded performances. Chord input and predefined scales, make editing and inputting patterns quick and easy, without any knowledge needed of music theory.
With the ability to create polyrhythmic and polymetric patterns up to 64 steps in length, independently on each of the 4 layers, Stochas can create interesting ideas for your next musical project, be it a Phillip Glass style classical piece with varying rhythmical and metric sequences playing against each other, to a polymeric dance style project that has more life and rhythm than the standard 4/4 patterns. Patterns can be chained and created so that little phrases can be triggered randomly during the playback sequence, this can also be used to prevent repetition of the same note if using Stochas to write a bass line or to keep the pattern evolving.
With the groove template editor, you have total control over the timing and feel of the playback in Stochas, these can also be saved and loaded into other sessions, allowing you to recreate the same feel from track to track easily. MIDI input control means that you can use any hardware controller or another MIDI channel to control Stochas, allowing for live performance control of the polymeric lengths, transpositions, the bias of the maximum number of notes played.
Features:
Randomisation engine works in both mono and polyphonic modes.
Groove templates with export and import function.
Chord input.
Predefined key and scales, including custom import.
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