GR-8 by Phuturetone 0 (0)

GR-8 is an 8 voices virtual analog synthesizer with built-in effects and an arpeggiator.

  • Arpeggiator: 5 Modes (Up, Down, Alt 1, Alt 2, Random), 4 Octaves Range.
  • Voice Modes: Mono, Unison (8 voices), Chord (4 stereo notes), Poly (8 voices).
  • Voice Effects: Glide, Legato, Voice Detune, Voice Stereo Spread.
  • Oscillators: OSC 1 (Tri, Saw, Pulse, Square), OSC 2 (Sine, Saw, Pulse, Noise).
  • Oscillator Effects: Cross Modulation (FM), Pulse Width Modulation (PWM), Sync.
  • Filters: Non-resonant High Pass, Resonant Low Pass (12, 18, or 24 dB/Octave).
  • Modulation: Pitch Bender, Mod Wheel, LFO, 2 Envelopes.
  • Effects: EQ, Distortion, Phaser, Chorus/Flanger, Delay, Reverb.
  • Presets: 88.

Caution: Each preset has its own MIDI assignment. If you make a MIDI assignment you need to save the preset. Otherwise, the MIDI assignment you’ve made will be lost as soon you change the preset. If you want to make your own presets with the same MIDI assignments, you can do it by assigning MIDI controls to the Initial preset, saving a copy of it, and using it as a template for your sounds.

No Homepage

gr-8-vst3

gr-8-au

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.

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

PG-8X 2.0 by Martin Lüders 5 (2)

Features:

    • up to 12 voice polyphony
    • Two DCO’s with Saw, Square, Pulse, Noise
    • Hard Sync and Ring Modulation
    • Two exponential envelop generators
    • 24 dB resonant LP filter
    • HP filter (3 stages)
    • Stereo Chorus
    • Import and Export of JX-8P Sysex data

Technical information:

    • programmed in C++ using WDL-OL
  • optimized SSE2 code
  • 6 Key assignment modes:
      • Poly (re-assignment of voices)
      • Poly2 (round robin)
      • Unison (two voices in unison)
      • Unison2 (second voice shifted by 1 octave)
      • Mono
      • Mono2 (all voices in unison)
    • MIDI Learn: MIDI Controllers can be assigned by right-clicking on the slider
    • Automatic adjustment of oversampling

Documentation:

  • A user manual can be found here.

Support:

Links: (Patches, Info, etc.)

https://sites.google.com/site/mlvst0

PG-8X_2.0.13_Win32

PG-8X_2.0.13_Win64

PG-8X_2.0.13_MacApp

PG-8X_2.0.13_MacVST

Invader 2 by E-Phonic(pay what you want) 0 (0)

Invader 2 is an 8 voice polyphonic synthesizer. It was designed to be easy to program while still offering a wide range of sounds and possibilities.

Features:

  • Knob-per-function interface, what you see it what you get.
  • 2 oscillators + 1 sub oscillator (tri, saw, pw, sync).
  • Polyphonic stereo unison with optional low CPU unison emulation mode (up to 48 voices).
  • 2 low pass resonant filter types (clean and raw).
  • Filter drive or high pass option.
  • Stereo noise generator.
  • Ring modulation.
  • 2 LFOs with delay function.
  • 2 Envelopes.
  • Delay effect with normal, ping pong, tape and diffusion delay modes.
  • Arpeggiator / 16 step sequencer.
  • 4 x oversampled engine.
  • Medium and high quality modes.
  • 200+ presets.

https://www.e-phonic.com/invader.html#/

Sawrizor Lite by Sugar Audio 0 (0)

Sawrizor Lite is an all-round wavetable / saw synthesizer that combines 2 high quality saw oscillators.

By mixing different generators for each oscillator, resulting in a matrix of recorded and hand made audio material of the last decades and unique new saw combinations.

Both units have voice unison features with detune, mix and other sound fattening abilities. The sub oscillator adds punch and more character to the sound. Chorus, delay and reverb effects enrich the sound with depth.

Sawrizor is aliasing free where necessary and allows up to 8x oversampling for high SNRs. Analogue sounding resonance/damp filters and an EQ complete the clearness of the digital synthesizer !

  • Double aliasing free wavetable synthesizer with unison and sub oscillator.
  • Famous high quality saw sounds of the last decades and new creations.
  • Resonance damping filter.
  • FX section with chorus, delay, reverb and equalizer.
  • Freely resizable GUI from very small up to Ultra-HD & 5K Retina.
  • Auto off feature.
  • Theme support.