ODeus ASIO Link Pro – Patcher now free 0 (0)

In the beginning there was a man… This man developed a piece of software that was truly incredible. All the little boys and girls, mainly audiophiles thrived on this mans work. Everyone was happy. UNTIL ONE DAY.

s1

The software that everyone knew and loved STOPPED WORKING, nobody could buy it, those who had already bought it… could no longer activate it.. All that was left were many unanswered questions. Soon these qustions were answered.. (kind of).

answered

So you see there was no hope going forward… the audiophiles would all be doomed to scour the interwebs for any kind of alternative… yet they would all leave the young audiophiles still feeling empty, while standing in the shadow cast by ODeus ASIO Link. One brave audiophile said “NO! I WONT STAND FOR THIS! I WILL REVERSE ENGINEER THIS PROGRAM!” and this young audiophile was…. NOT ME. Yet he did find me and bring this (problem/nightmare/time suck/amazing reverse engineering feat/success story) to me after having already suffered 85+ hours. Together (G.A. Collective) spend the next few days (many hours for each of them), jumping through the previously mentioned incredible person’s (ODeus) code at the binary level.. LET ME REMIND YOU… this guy could code… yea… check that string length 10 times please… yea.. it was great.. IN THE END WE BRING YOU…

“This ASIO driver extends your audio interface ASIO driver and adds windows audio with no additional latency. It also allows you to use your ASIO driver from more than one application with the inbuilt multi-client support, and you can even send ASIO audio over the network.

The driver is great value for money for people who need to monitor or record from windows audio or just want to jam with their favourite tunes.

Features:

  • Extremely high performance for Pro Audio apps.
  • Zero added ASIO latency.
  • 64 IN + 64 OUT virtual ASIO channels.
  • 32 IN + 32 OUT WDM audio channels.
  • 16 IN + 16 OUT network audio channels.
  • Multi-client mode means ASIO for up to 25 apps.
  • Works without internal WDM or ASIO audio resampling.
  • Record lossless 8 channel audio to FLAC file.
  • Supports Windows XP, Vista, 7, 8, 8.1 and 10.
  • Route audio to/from WDM/MME/DirectSound/WASAPI and LAN/NET.”

This effectively allows you to use more than one ASIO interface at the same time in CbB (even ones on an external networked PC), allowing up to 64 input/output channels.  At the moment I’ve no idea how this affects latency, but I guess if it’s lots of inputs you need then it’s likely it’s a whole band you’re recording and this will be less of a concern. I can also see it being really useful for making tutorial videos.

https://give.academy/posts/2018/03/02/AsioLinkPro/

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

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

 

TBProAudio ISOL8 v2.4.0 VST AU AAX Win MAC [FREE] 0 (0)

Isol8 is an advanced mix monitoring tool. It divides the frequency range into 5 bands.
These 5 bands can be soloed or muted individually. This will help you to concentrate on certain frequency ranges during the mixing and mastering process.

On top you can use ISLO8 as a flexible multi-band splitter with following complex plugin chains. The split signal can finally be mixed together.

Isol8 is originally designed to be used on the master track, but it can also be used on individual audio track busses.

Features
5 adjustable frequency bands
Solo/mute function for each band individually
Linkwitz-Riley crossover filter design
24/48dB/Oct filter slope
Multiple filter channel modes (Stereo/Left/Right/Mid/Side)
Multiple monitor modes (Stereo/Left/Right/Mid/Side)
In-place or centered monitoring
Adjustable output level
Loudness dim function
Multi channel split
Large and easy to use GUI
Keyboard control
64-bit internal processing

https://www.tbproaudio.de/products/isol8

 

ISOL8_Installer_WIN_OSX_240

Ginger Audio GroundControl macOS [FREE] 0 (0)

 

Ginger Audio has released GroundControl, a freeware zero-latency audio router and virtual audio driver for macOS.

GroundControl allows you to send audio from one application to another with zero latency. The Ground Control virtual audio drivers have 3 settings, 2 channels, 16 channels, and 64 channels.

Ginger Audio GroundControl macOS [FREE] screenshotCOREAUDIO DRIVERGroundControl virtual audio drivers allow applications to pass audio to other applications.
There are 3 flavors available – 2 channels, 16 channels, and 64 channels.

Ginger Audio GroundControl macOS [FREE] screenshotMONITORINGGroundControl Cube allows you to monitor GroundControl’s driver’s output through your computer’s internal speakers or headphone output.

• M1 support
• Big Sur support
• Up to 192khz support with Zero latency

https://www.gingeraudio.com

GroundControl

LVC Audio LVC Meter 1.0.9 Mac Win AU VST VST3 AAX FREE 0 (0)

LVC-Meter 1.0.8
-updated September 29, 2020-
Meter: LVC style

LVC-Meter is a free plugin that builds on all of the metering features of Toned-MAX, Limited-Z, and Clipped-MAX. This may be nothing new, but there might be times when you need the LVC style meters but not all of the other plugin features.

Beyond Basic

LVC-Meter includes a spectrum analyzer, stereo vectorscope, and a waveform history view. All of the meters utilize true-peak monitoring for determining intersample peak levels (i.e., “overs”). In addition, LVC-Meter functions in EBU mode, K-System metering, and standard dBFS mode.

Just Because

Why have a meter plugin that monitors stereo and true-peak levels without having the ability to adjust things? Good question, and LVC-Audio agrees. LVC-Meter includes three simple but valuable controls: GAIN, BALANCE, and WIDTH. Both the GAIN and BALANCE controls have extra fine settings accessible by right-clicking on the knobs. These extra settings allow for precise gain and balance adjustment. Perfect for a final gain stage.

LVC-Meter

Adjustable true-peak level for visualizing overs
Resizable interface
User configurable colors
Configurable spectrum analyzer settings (e.g., window type, fft size, overlap)
FloatDither: 32-bit dithering based on Chris’s work at Airwindows (https://www.airwindows.com/ditherfloat/)
XML-based preset system for saving, importing, and exporting user presets
System Requirements and Specifications

Windows: VST, VST3, and AAX plugin formats. LVC-Meter requires Windows Vista, Windows 7, or Windows 8 machines with a processor that supports SSE2 (AMD or Intel processor from around 2004 or later). An iLok device is required to use the AAX format.
OS X: AU, VST, VST3, and AAX plugin formats. LVC-Meter requires OS X 10.8 or later, and an Intel Core2Duo processor (or better). An iLok device is required to use the AAX format.
Download LVC-Meter and user manual (still in development)

Windows Download:
DOWNLOAD
OS X Download:
DOWNLOAD
Changelog

– Version 1.0.8

Fix AAX issue with resizing
Save GUI size for each preset
Improved oversampling with AVX2 CPUs (Haswell and newer) on Windows – impacts ISP detection and metering
– Version 1.0.7

Fix compatibility with Acustica plugins
Improve speed of resizing
Improve preset controls on OS X
– Version 1.0.6

Significant improvement with image resampling by replacing bilinear with AVIR (https://github.com/avaneev/avir) from Aleksey Vaneev from Voxengo
Adding hover-over indicators for most controls
Fix resizing with certain hosts and VST format, as well as improving display on smaller screens
CPU usage improvements
– Version 1.0.5

Add magnitude display in spectrum analyzer (configurable via XML config file)
– Version 1.0.4

Minor fixes and tweaks
Frequency display in spectrum analyzer (left click)
Fixed moveable controls being dragged off screen
– Version 1.0.3

Wave Observer by pressplay 0 (0)

Watch your waves

Wave Observer is an oscilloscope and monitoring plug-in for time-domain audio analysis. It visually supports mixing, mastering and sound design by offering a number of unique features.

  • smooth continuous presentation of input signals (left, right and stereo)
  • wide time range (from one millisecond up to four seconds)
  • stabilization algorithm for fixing single waveforms on screen
  • freeze function including the ability to scroll through history

Observer modes

Two different observer modes allow distinct types of monitoring. The envelope mode offers long sweep times suitable for the analysis of the shape of envelopes and signal dynamics. The waveform mode allows you to view individual waveforms and oscillations by activating a specifically developed stabilization algorithm.

Additional features

  • peak level meter
  • support for high-dpi / retina displays
  • UI customization (window scaling and color themes)