Echo Sound Works House Piano Kontakt [FREE for Limited Time] 0 (0)

Echo Sound Works has announced its House Piano sample library for Kontakt 6 (full version) is free for a limited time.

Anyone who produces dance music knows the “House Piano” sound. The iconic sound first debuted in the late 1980s on a Korg M1 and still gets used today.

This library is inspired by the sound of Joel Corry, Sigala, Jonas Blue, MK, Nathan Dawe, Kygo and so many more.

The interface is simple and easy to use with the following controls:

Transient – use this macro to add a snappy pluck to the attack of the sound. Perfect when you need the piano to cut through a mix.
Bowed Keys – This macro adds a sustained layer to the notoriously short M1 piano sound.
Synth Keys – This macro adds a synthesized key sound to the main M1 piano.
Effects – Filter out high frequencies with the LP Filter and add some dimension with the reverb control.
Performance – These three macros allow you to fine-tune the performance of the piano to fit your playing style or MIDI.

House Piano works with a full version of Native Instrument Kontakt only (the free Player version isn’t supported).

https://www.echosoundworks.com/house-pianos

 

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

AMP Soft Clipper, EQ and Stereo Shaping Effect by ProduceRNB 0 (0)

AMP is our new effect plugin designed specifically as a tool to quickly make drum sounds punchier, more present and more demanding in a mix. AMP is also a great all-around tool for individual instrument sounds when it comes to making them sound louder and more interesting without over processing or clipping.:

  • AMP brings you a highly sensitive EQ, a near transparent Limiter with Soft Clip, Saturation and Stereo Control.
  • Easily make drums, 808’s and other sounds louder and more present in your mix without over processing.
  • Quick, point and click EQ with unlimited bands, Easy to read Analyzers and straight forward controls.
  • Stereo shape any sound. Either make things wide or even mono.
  • Saturation is also conveniently placed into this plugin for those who would like to add color.

https://www.producernb.com/amp/

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

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

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

NB01 – distortion/sustainer by Noizebox – KVR Challenge 0 (0)

NB01 – distortion/sustainer is the first plugin from Noizebox Industries. Made for KVR DC21.

Inspired by a circuit from an ancient guitar pedal that was originally intended as a soft-distortion-sustainer for guitars. Giving that singing sustain without a lot of harsh distortion. This is a modern take on the same circuit, not a straight up clone, more of a work-alike inspired by the original circuit. Though a fair amount of work has gone into modelling the peculiar anomalies of an overdriven, asymmetrically clipping, amplifier circuit with a FET-based feedback loop that works like a crude compressor, prone to overcompensating.

NB01 adds control over the amount of compression applied and the response time. It its fastest setting it is not really a compressor as it starts altering the waveform of the incoming sound. It also add tone controls for more versatility in shaping the sound. The tone controls are a mix of pre and post filtering that makes them interact with the overdriven amplifier circuit in interesting ways.

The signal chain is processed with 4x times oversampling with high quality elliptical downsampling filters to limit aliasing and accurate modelling. Real time parameter smoothing for glitch-free operation. Written in native C++ for performance and small footprint. Hardware accelerated, vector based UI.

Use it as overdrive before a guitar amp plugin for a sweet, compressed and singing tone. Preferably with a bit of midrange boost to cut through. It’s is also perfect for destroying drum loops. Either by rolling off the bass and making the compressor slam the transients.

Or by cranking up the low end for really making the compressor duck like crazy on the kicks, by setting the response time to moderately fast, you can tweak the gain knob to find a sweetspot where the bass triggers the compression in just the right way.

Or try it on any other material, lofi vocals, adding grime to basslines or any other creative ways of destroying sounds.

Controls:

  • Gain: Sets the gain of the circuit, higher values produce more distortion.
  • Compression amount: Sets the amount of compression applied. There’s a lot of range here. At extreme settings the compression will be negative, i.e. a 3 dB volume increase will result in more than 3 dB gain reduction. This can cause a bubbling/pumping/grinding artefacts at some combinations of high reaction speed and high compression when the circuit switches back and forth between overcompensation. This is not a bug, it’s a feature and lot’s of weird distortions can be discovered here.
  • Compression Speed: Sets the reaction time of the compressor feedback, higher values create more distortion as the compressor starts to chew on the waveform rather that the envelope of the sound.
  • Stereo: This switches between Fully independent stereo processing, stereo processing with linked compressors and mono processing.
  • Tonelomidhigh: Tone controls are fairly straight forward. All controls at 12 o clock means a reasonably flat response. Tone controls are also a combination of pre and post clipping, which creates more interesting textures.
  • Scope: Just for amusement really. but it’s fun to watch.
  • Master level: Sets the output volume for balancing the mix.

https://www.kvraudio.com/product/nb01—distortion-sustainer-by-noizebox-industries

EVOX Calypso by 2MGT/Metamusic Generative Tools 0 (0)

 

EVOX Calypso is an experimental sound, performance-oriented virtual musical instrument that is designed for creating cinematic ambient soundscapes, sound structures, and atmospheric and ethereal textures, as well as more traditional synthesizer sounds that can be layered to create a tremendous variety of spatial sounds. EVOX Calypso sounds extend to unattainable distances, immersing you in unexpected worlds. The tool includes more than 128 ready-to-mix presets.
EVOX Calypso is Free/Donate. The Free version has some limitations. A version available to supporters includes a package of additional presets for synthesizers, effects, and track models.No installation is necessary, and it works without problems in Windows XP and Windows 10 (32/64-bit). (EVOX Calypso is 32-bit.)
EVOX Calypso is an standalone tool application for Windows that employs Wavetable / Granular synthesis in two separate and programmable layers each with extensive FX, Modulation Matrix and Chord Sequencer modules which provide the user with maximum control over unique sound creation.
As an experimental synthesizer, it radically departs from standard type instruments and is meant to be used as a laboratory for the exploration of new sonic and timbral creations. Playing EVOX Calypso is not like playing a conventional synthesizer, it does not have a keyboard and MIDI GUI like conventional synthesizers. Sound manipulation is carried out by built-in modulators and sequencers.
EVOX Calypso also has an 8-track sequencer with up to 64 steps for each track. Each track is essentially a separate synthesizer that can be recorded and played back in sync with the other tracks. Mini compositions can be made by merging these tracks together.

https://2mgt.st8.ru/EVOX_Calypso_2.html

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.