GSat+ by TBProAudio 0 (0)

GSat+ is an exclusive saturation plug-in featuring an incredible saturation algorithm, VU meters, clip protection and over sampling.

Features:

  • Saturation with three different “tube-based” character modes.
  • Clip protection.
  • VU meters.
  • Signal monitoring.
  • Over sampling.
  • Plug-in bypass.
  • Preset management.
  • Large and easy to use freely-scalable GUI.
  • 64-bit internal processing.
  • Very efficient CPU usage design.
  • Free.

GSat+ by TBProAudio is a Virtual Effect Audio Plugin for macOS and Windows. It functions as a VST Plugin, an Audio Units Plugin, a VST3 Plugin and an AAX Plugin.

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

 

CVoice1 by SNFK Music 0 (0)

CVoice1 is a simple pitch modulation plugin that allows you to create vibrato and unison detune.

Features / Parameters:

  • Detune: An input signal is modulated by a sine LFO, creating a vibrato effect.
  • Stereo Enhancement: Provides differences in the left and right channel pitches.
  • Voices: The main element of the plugin – you can stack signals together to create unique detune and unison effects.
  • Saturation: Each voice can be saturated to add extra harmonics.

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/

CHANNEV by Analog Obsession 0 (0)

Here is CHANNEV!

Ultimate channel-strip with Mic Preamp, De-Esser, Line-Amp, 4 band equalizer, Compressor, Limiter and Tape Saturation!

Features

– Simple trim screw on preamp section will set input level.

– Mic preamp with 60dB Virtual Gain, PAD, and Phase Invert. Also, Pre-EQ (Low Shelf/High Shelf) and HPF/LPF.

– De-Esser with Bell and Soft options. It will help you to tame highs!

– 4 Band 81 Style Eq with variable frequency instead limited selectable frequencies. While Low and High bands have bell option, mid bands have Hi-Q option. Also, included Post-Filter same as Pre-Filter.

– Limiter and Compressor based on 2264 but now totally independent and each has its own external side-chain.

– Latest module is Tape Saturation. It will help you add tape saturation and glue overall signal.

– Fixed 2X light oversampling to keep CPU lower

You can see “ROUTING” to understand signal-chain.

Available Formats

VST/VST3/AU | Mac 10.9 – 11.X

VST/VST3 | Windows 7 – 8 – 10

VERSION 1.2 – 9.7.2021

– Added input trim

– Minor bug fixes

VERSION 1.1 – 8.7.2021

– Fixed Limiter Dry/Wet knob

Patreon

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

Fleeter by SNFK Music 0 (0)

Fleeter by SNFK Music is a Virtual Effect Audio Plugin for Windows. It functions as a VST 3 Plugin

Fleeter is a transient processor / saturator designed to fatten up drums. It has only three simple knobs: Time, Amount, and Saturation. Time corresponds to how long a transient is. Amount corresponds to how much or little the plugin should emphasize a transient. Saturation adds analog charm to the track and creates upwards harmonics.

no webside

Fleeter

GSat+ by TBProAudio 0 (0)

GSat+ is an exclusive saturation plug-in featuring an incredible saturation algorithm, VU meters, clip protection and over sampling. Although derived from the saturation module in our CS5501 channel strip plug-in, the team at Gearspace.com suggested a few new tricks and features that we’ve incorporated to help make this plug-in stand alone as a superb tool that will cover all your saturation needs.

Features

  • Saturation with three different “tube-based” character modes
  • Clip protection
  • VU meters
  • Signal monitoring
  • Over sampling
  • Plug-in bypass
  • Preset management
  • Large and easy to use freely-scalable GUI
  • 64-bit internal processing
  • Very efficient CPU usage design

https://www.tbproaudio.de/products/gsatplus?fbclid=IwAR0LGDBhXQ59i5aVVKsTzCvF5pP8zl-bjwj4IpObhmoCHzO7luLkUG0qVSI

GSatPlus_Installer_WIN_101

GSatPlus_Installer_OSX_101

LV-60 by ViatorDSP 0 (0)

LV-60 is an analog graphic equalizer.

  • 10 filter bands with 12 dB of negative and positive gain.
  • Low-shelf, high-shelf and 8 peak notches with two having the option to be shelves or bell shapes by toggling the bell buttons below the filters.
  • Analog-inspired saturation circuit. When the drive is set to 0, the drive is bypassed, any values higher than 0 engage the saturation circuit.
  • Proportional Q controlled by the gain of each filter. Gain values above 0 gradually thin the Q value. The negative end of the gain range has a much thinner Q than the positive end, so it’s great for cutting unwanted frequencies.
  • Trim knob to control the overall volume of the plugin.
  • Fully DAW-compatible automation parameters for each control.
  • Toggle button to turn off shadows. This helps under-powered laptops that lag when using the user interface.

ViatorDSP LV50A free equalizer effect plugin (VST3/AU) 0 (0)

ViatorDSP has announced the release of a free equalizer plugin that combines the sound and curves of two different hardware EQ’s that have defined music studios across the decades.

This EQ is inspired by real EQ’s, but it definitely has its own flavor. It sounds great on anything, but I think it’s great on the master bus, especially since the high and low filters are inspired by a famous mastering hardware EQ.

LV50A features

  • Oversampling of 8x when oversampling is turned on from the top-right dropdown menu. This makes a huge difference on the top end frequencies.
  • 4 EQ bands with proportional Q and 12 dB of boost and attenuation.
  • When the gain of a band is set to 0 dB, the filter circuit disables, which saves loads of CPU if you aren’t using the band anyway.
  • Saturation algorithm on the output, the EQ pushes into it. When the drive is set to 0 dB, the circuit disables to save on CPU.
  • The low and high bands can be a shelf or bell depending on the state of the button under each band.
  • Reset button to set all band’s gains to 0 dB.
  • High and low pass filters to filter out the very top and bottom frequencies that aren’t super useful. Toggle the filters button under the drive. These filters really make a huge difference when oversampling is on.
  • Phase inversion button to flip the phase of the entire circuit. This is useful for parallel processing.
  • Trim gain to boost or attenuate the volume of the entire plugin.

ViatorDSP

GBSoundlab Tape Bus v1.4 x64 x86 vst vst3 au aax win macos 0 (0)

 

For some time now the free Tape Bus add-on, designed by gbSound (Germán Bou), has helped many composers, producers and DJs, to profile all kinds of instruments, and vocals, emulating analog circuitry and the connection between tape recorder and mixing console.

This plugin was programmed a few years ago when the 32-bit format was in force, being somewhat uncomfortable at present due to the change to 64-bit format, having to use wrappers to adapt it to current workstations.

Wavesfactory took an interest in my design of the Tape Bus tape saturation algorithm, cooperating on compiling it to 64-bit, on this product only.

Now we can enjoy Tape Bus, both for Mac and Windows, in different DAWs such as Logic Pro 9 and 10, Cubase, Ableton, etc.

Requirements:
Mac: AU, VST and VST3 (32/64 bit). Mac OS 10.7 or higher
Windows: VST and VST3 (32/64 bit). Windows 7 or higher

https://gbsoundlab.com/en/tapebus/

Tape-Bus-1.4