Onsen Audio OS-251 v1.0.1 VST3 AU WiN MAC LiNUX [FREE] 0 (0)

OS-251_screenshot

OS-251 is a pure digital lo-fi synthesizer plugin for Mac, Windows and Linux
OS-251 is a “JUNO” style digital subtractive synthesizer with a simple yet powerful DSP algorithm. Unlike other plugins that use analogue simulation, OS-251 uses digital algorithms to give warm, lo-fi sounds. The design of the oscillators and the selection of parameters were influenced by the JUNO-106, making it easier to express a thicker, chunkier sound.

The oscillator has alias noise (specific to digital signal processing) famous on classic samplers like E-mu SP-12 which adds lo-fi feeling to the sound. You can enjoy the powerful sound at modern sampling rates with your DAW.

Easy to use
Tired of overwhelming synthesizers with hundreds of parameters and presets? Then OS-251 is for you! OS-251 is equipped with only carefully selected parameters, allowing musicians to concentrate on music production. You can see every parameter at once, so you can have a stress-free experience. Because the number of the parameters is limited, you can create the desired sounds yourself quickly and you don’t have to spend your precious time choosing presets.

Key features
• Up to 10 voices of polyphony
• Oscillators (Sin, Square, Saw), with Shape parameter
• Square sub oscillator
• Noise oscillator
• Biquad low-pass filter (LPF) with Frequency and Resonance parameters
• Biquad high-pass filter (HPF) with Frequency parameter
• Envelope generator which can control LPF and amplitude
• Low-frequency oscillator (LFO) which can control LPF, amplitude, and Shape parameter
• LFO sync
• Chorus
• Flexible pitch controls (pitch bend width, octave, semitone, fine tuning)

https://onsenaudio.com/products/os251

 

OS-251 by Onsen Audio 0 (0)

OS-251_screenshot

OS-251 is a pure digital lo-fi synthesizer plugin for Mac, Windows and Linux. Available in VST3 and AU plugin formats for free.

Digital lo-fi sounds

OS-251 is a “JUNO” style digital subtractive synthesizer with a simple yet powerful DSP algorithm. Unlike other plugins that use analogue simulation, OS-251 uses digital algorithms to give warm, lo-fi sounds. The design of the oscillators and the selection of parameters were influenced by the JUNO-106, making it easier to express a thicker, chunkier sound.

The oscillator has alias noise (specific to digital signal processing) famous on classic samplers like E-mu SP-12 which adds lo-fi feeling to the sound. You can enjoy the powerful sound at modern sampling rates with your DAW.

Easy to use

OS-251 is equipped with only carefully selected parameters, allowing musicians to concentrate on music production. You can see every parameter at once, so you can have a stress-free experience. Because the number of the parameters is limited, you can create the desired sounds yourself quickly and you don’t have to spend your precious time choosing presets.

Key features:

  • Up to 10 voices of polyphony.
  • Oscillators (Sin, Square, Saw), with Shape parameter.
  • Square sub oscillator.
  • Noise oscillator.
  • Biquad low-pass filter (LPF) with Frequency and Resonance parameters.
  • Biquad high-pass filter (HPF) with Frequency parameter.
  • Envelope generator which can control LPF and amplitude.
  • Low-frequency oscillator (LFO) which can control LPF, amplitude, and Shape parameter.
  • LFO sync.
  • Chorus.
  • Flexible pitch controls (pitch bend width, octave, semitone, fine tuning).

https://onsenaudio.com/products/os251

Fugue State Audio Shapeulator free plugin synth VSTI3 0 (0)

shapeulator-new

 

Shapeulator is essentially the product of a modular patching session, and a desire to have the core setup used available for further sound design fun. At the most basic level, it is a subtractive synthesizer, with some additional features that make it especially useful for certain types of pads, fx sounds, and synthetic percussion.

The main features that separate Shapeulator from other analog-style subtractive synths are the waveshaper oscillator and resonator. The waveshaper oscillator is a fairly standard VA osc with a waveshaper that is controlled by another oscillator. This second oscillator can be modulated independently, and creates a sound something like amplitude modulation. The resonator is a stereo bank of tuned delays with feedback, which can also be modulated.

Patron

WaveFolder by Martinheterjag 0 (0)

06-08-_2021_08-39-14

The Wave folder is inspired by west coast modular synths like Buchla and Serge, where you instead of starting with a harsh waveform (Eg. square or saw) and filter it like on a subtractive synth, you instead start with a sine wave or triangle and distort it to get a harsher sound. This VST is folding a waveform in similar ways as serge or buchla modules but is not supposed to emulate them. The wave folder VST will sound harsh and digital and can be used on smoother sounds to add texture or be used on more complex sound sources and open the gates to the realms of heavy distortion an

No Homepage

wavefolder

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

NUSofting Sinnah v1.2.1 free plugin synth 5 (1)

Sinnah is a freeware VA synth plugin (*and a project) but instead of the standard subtractive resonant filter it uses a resonant delay network.

Sinnah was updated to v1.2.1, here’s what’s new:

– ODDSOUND MTS-ESP supported microtuning to load ‘scala’ and .tun.
– files.
– Compatibility update for macOS Big Sur and Windows 10 latest.
– Reached 225 factory presets.
– GUI adjustments.

https://nusofting.com/plugins/sinnah/

NUSofting_Sinnah_VST_1.2.1-l7btzb

Defiant WT WAVETABLE – ADDITIVE – SUBTRACTIVE HYBRID / POLYPHONIC by oceanswift 0 (0)

200 Factory Wavetables

200 original factory wavetables within the wavetable oscillator types, and another 100 original wavetables within the LFOs. Defiant WT also has the ability to Manually add new custom Wavetables

A Versatile Synth

Defiant’s Main Oscillator comes packed with different Synthesis styles, you can chose between Analog OSC, Digital (Wavetable) OSC and Additive OSC

Clean, Compact and Intuitive

A Clean and powerful sound – Defiant WT comes packed with +120 Factory Presets

A fully resize-able clean Interface with a small CPU Footprint

Charlatan by BlauKraut Engineering[win][VSTI][x86][x64][FREE] 5 (1)

 

Charlatan is a polyphonic subtractive synthesizer with focus on sound quality and easy usability.

It comes with a flexible, yet not overwhelming feature set which encourages artists to start tweaking instead of just relying on presets. Inspite of it’s simplicity, Charlatan’s architecture is flexible enough to create both classic sounds and rather experimental noises. While making no compromise about sound quality, the sound engine has been highly optimized for efficient CPU usage making Charlatan well suited as a “bread and butter” synth even in projects with a large number of plugin instances.
2 oscillators with shape modulation.
Oscillator hard synchronization and ring modulation.
Unison mode with upto 7 voices and stereo spread.
Stereo noise generator.
2 ADSR envelope generators.
LFO with host tempo synchronization.
3 filter types modeled after classic analog hardware: 4-pole (24 db/oct) and 2-pole (12 db/oct) lowpass, bandpass.
3 voice modes: Monophonic, Monophonic Legato and 8-voice Polyphonic.
Ultra-low CPU usage.

 

http://www.blaukraut.info

Charlatan

Charlatan_x64

 

 

Deducktion by Dead Duck Software 0 (0)

Dead Duck Deducktion is a subtractive synthesizer, featuring:

  • Two oscillators with saw, square, triangle and noise waveforms with ‘superwave’ detune, PWM and square/triangle sub-oscillator options.
  • Flexible sub-oscillators with sub-octave and independent modes for advanced sound-design.
  • 2 resonant multi-mode filters with lowpass, highpass, bandpass, bandstop and peaking options.
  • Multi-mode osc/filter/amp routing for multi-layer programming options.
  • Four envelopes, four LFOs and a 24-slot modulation matrix for a wide range of modulation possibilities.
  • MIDI CC control of parameters and modulation sources allowing full interaction with hardware controllers.
  • Customisable GUI themes.

Available in VSTI 2.4 format for Windows x86 and x64 hosts.

KVR-CHALENGE 2018

dead_duck_deducktion_1_3_0_1

 

SawPluck by RDGAudio 0 (0)

SAWPLUCK

SawPluck is our first Analogue Emulated Trance Pluck Synthesizer for quick Trance Chords, Riffs and Melody creation. We have carefully crafted all the details of analogue circuitry and electronic components through advanced DSP and Mathematics. Coded through C++ Framework.

Why did we make Analogue Virtual Emulation?

Although it’s a Single Oscillator Synthesizer still it has a very warm sound what is usually missing in regular subtractive synthesizer. When you will play and tweak it’s settings you will get pure rich analog Pluck sound inside your DAW.

Is It free for personal and commercial use?

Yes, It is currently giving away for free.

Features

  • SawPluck is free .
  • Single SAW OSC yet rich and warm.
  • 15 different Filter types (Low Pass, High Pass, Notch, Hybrid, Analog etc..).
  • Amp Envelope and Filter Envelope (ADSR).
  • Filter Cutoff, Reso and Filter Mod.
  • Built in Delay and Reverb Effects.
  • .rdg/.RDG user presets.
  • Comes with Factory presets.
  • User can create and save their own Presets as .rdg file format.
  • 32 voice Polyphony.

System Requirements:

  • Graphics Card 1GB (2 GB recommended).
  • RAM 1 GB (2 GB recommended).
  • Intel CPU.
  • ASIO driver and audio interface.
  • Windows VST3 64-bit.
  • Mac VST3.
  • Windows 8,10 (64-bit).
  • Mac Mojave or Up.

https://rdgaudio.com/sawpluck/

RDGAudio SawPluck with Library and Factory Presets

RDGAudio SawPluck Mac VST3 with Samples