• Recent Additions

  • Octave Factory
  • I like coffee
  • Cheapskate Blasters
  • Ion Buddy
  • Maxxymiser
  • The Ghost
  • Plastic Guitarist
  • Noise Feather
  • Guitar Malfunction
  • PitchCity
  • Double Project
  • Substantial Amp
  • Slapmaster
  • Dudeosity
  • Dudelizer
• 
  

RunBeerRun

This is an octaver for the guitar, it can rectify 1 to 4 octaves up, or 1 to 4 octaves down, and then through a section for regular input going through Badhead distortion module.

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RunBeerRun

Note: very crusty/glitchy, destroyed sound

is uses tons of clipping with a compressor and limiter.

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RunBeerRun

The Ghost is an audio-triggered synth VST effect designed for the guitar. It features 2 oscillators, a noise oscillator, and 2 arpeggiators. Each oscillator has a modify knob which intensifies the pulse width and unison level.

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RunBeerRun

Plastic Guitarist is an audio-triggered synth designed for the guitar. It features 2 SoundFont oscillators, a delay, and an 8-step arpeggiator. It comes with an embedded 4-instrument SoundFonts.

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RunBeerRun

Noise Feather is an audio triggered synth.

Top left mode, is signal to pulse train module, just leave it at pos/neg.

1st oscillator is at the top, top ADSR is filter, next one down is volume. You can select octave, fine tune and individual note. Then just below octave is a choice of math equations, I took math modules and put in different parameters.

Below all that the 2nd oscillator starts, same situation but with different math stuff going on, and the octave selector mostly won’t change octaves, rather it just changes the sound, with the 2nd oscillator I find 1 or 2 works the best, while the top oscillator I normally use for -1 or -2 for a heavy sound.

Threshold is the dh mingate module, basically a noise gate. Left one is the 1st top oscillator, right is bottom.

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RunBeerRun

This is an audio triggered synth. The main feature is the tuning, you can technically select notes and fine tune, being monophonic it creates weird metallic tones.

Top right corner, is the signal to pulse train module, which sort of tames the sound, 3 modes there.

Top right ADSR is for the 1st oscillator’s filter, next one down is the volume. Modulation depth goes to the oscillator, pitch and resonance to the filter. Fine tune knob and note select create metallic qualities.

Next line down is the 2nd oscillator’s stuff.  The choice dropdown box at the right chooses oscillator 1, 2, or both.

The mode dropdown boxes are the signal to pulsetrain modules, which helps tame it. Pos/Neg is usually good, they work alongside the 2 threshold knobs at the bottom, left one is 1st oscillator, right is 2nd.

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RunBeerRun

PitchCity is an audio triggered arpeggiator designed for chorusing. There are 2 sequencers attached to pitch shifters, then into 2 more pitch shifters each with lfos.

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RunBeerRun

A dual detuner and dual 8-step arpeggiator.

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RunBeerRun

Substantial Amp is an amplifier simulator for the guitar. It has resonating filters, a harmonic eq, and a 3-stage resonating cabinet circuit. It is made for screaming riffs, not really for chords.

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RunBeerRun

Slapmaster is an amp sim for the bass. It can produce heavy lows as well as accentuate midrangey slaps by using some extra band reject filters and multiplication.

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RunBeerRun

Dudeosity is a clean amp sim plugin for either an electric guitar and a distortion plugin before it, or a clean acoustic.

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RunBeerRun

Dudelizer is a clean amp-sim designed to bring out the characteristics of distortion plugins that you could use with it. It has 5 modes.

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RunBeerRun

A Clean amp sim with many filter options.

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RunBeerRun

Down the hatch is an amplifier simulator plug-in for the guitar. It features simple distortion into a comb filter-based cabinet simulator into your choice of additional grit.

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RunBeerRun

A bass amp simulator that is said to be heavy sounding and impressive. Many features including waveshapers.

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RunBeerRun

5 Cyborgs is an amplifer simulator for the bass guitar. Your woofers will feel it, it is very -powerful.

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Syntax

It features an audio input and a basic oscillator that can be routed through 2 LFO’s, random oscillator, X mod unit and a filter bank. Automation really brings it to life…

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Syntax

Overview:
Audio signals can be used to trigger the internal 4 oscilators that are routed through a filter, adsr and 2 lfo. It was an attempt to make something to generate melodic sounds and can make some nice stutters and drones

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Syntax

Overview:
Audio mixed with an oscilator and an lfo as well as ring modulation and quantiser all ready to be automated to death in Audiomulch, ideal for anyone into droning, throbbing electronic noise

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Syntax

Overview:
Input 1 can be routed through the ring modulator and mixed with input 2 (running through a basic delay) or mixed with the internal synth unit. You can also switch to input 2 or just hear the synth output, The unit really works best when using automation in Audiomulch.

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Klanglabs

Klanglabs Glitch is a MIDI triggered random delay FX. Glitch sends a random delay time value on every MIDI note input so you basically grab a MIDI channel and sequence time changes. You can also specify the times by MIDI note number instead of a random value.

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Klanglabs

A multifeatured vinyl scratching plugin

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dunk @ smartelectronix.com

Scrubber was made for the time-stretching “Dread-voice” thing you hear in a lot of old jungle and drum and bass. Functions such as syncing to tempo, nasty granular stuff and a whole bunch of ways to control the playback with the mouse in the waveform window.

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mdsp @ smartelectronix

This is a bunch of tools intended to process stereo streams but focusing on middle and side instead of left and right.

The idea is simple but the effects can be subtle and powerful.

::msEncode and msDecode::
These to ones are just converters mapping M -> L and S -> R so that you can put your own effects between the coder and the decoder. The effects below are just some hard-coded ones.

::msComp::
This one uses the same compression algorithm as my “classic” compressor, but focus on the Middle signal without touching at the Side. A typical use of this effect is to boost a mix without touching at the stereo image.

::msBalance::
2 separate gains for the Middle and side signals.

::msSwap::
it just swap the Middle and Side. You can use it before msComp if you want to compress the side instead of the Middle.

::msDelay::
This is a simplified version of analog delay that you can use to delay either the middle or the side.

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mdsp @ smartelectronix

This plugin swaps a frequency band defined between the fmin and fmax parameters while leaving the side bands unchanged. Low frequencies are mapped to high ones and high to low. The resulting sounds are highly inharmonic. You can try to set the min frequency very low (i.e.100Hz) and the max frequency to its maximum thus letting the very low frequencies pass through while swapping the remaining frequencies…

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mdsp @ smartelectronix

::LEVELS::
This plugin affects the spectral dynamic. It classifies the magnitudes in 3 regions: small, medium and big whose gains can be adjusted independently between [-20dB;+20dB]. Therefore by boosting or cutting the small magnitudes, you can either add liveliness or remove background noise. Just try it to hear how far you can change your sound’s character.

::KONTRAST::
This plugin also affects the spectral dynamic. It scales the spectral magnitude histogram according to a transfer function defined by the min, max and center parameters with saturation of the levels below the min and above the max.

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mdsp @ smartelectronix

This one just forces the phase to 0.0 thus removing life from your sound. No parameter except a gain.

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mdsp @ smartelectronix

Livecut is based on BBCut the BreakBeat Cutting library written by Nick Collins for SuperCollider

The BBCut Library began out of work on an algorithm to simulate the automatic cutting of breakbeats in the style of early jungle or drum and bass Nick Collins.

Livecut is a live beat-slicer but instead of manipulating equal chunks of audio like most beatslicer do, it works on the notion of audio cuts whose length and number of repetition depends on the context and the cutting procedure. cuts are organized in blocks which then form a phrase. And each phrase can be ended by a roll or fill.

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mdsp @ smartelectronix

Multitap delay with panning and controllable morphing between settings.
Instead of controlling each echo separately, there’s a bunch of parametrized functions that you can use to generate various kinds of effects from weird reverb to bouncing delays to sonic textures.

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boxsounds

8 band realtime vocoder

* Use any audio as the modulator and any audio as the carrier
* 8 Band filter bank with attack, decay and extra carrier gain
* Seperate modulator and carrier volume controls
* Pan
* Dry/wet control

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Sonic Assault

Virtual Motorised Audio Cross Fader

Animated Cross Slider
15 Second Maximum Adjustable Fade Time
A/B/Mix Snap Controls
Auto/Manual Slide Control
5 Selectable Fade Contours
Output Gain Adjustment
External MIDI Control
User Entry Label
16 User Patches

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dsp.trilete.net

Anticode is a filtering / mangling effect plug-in; it follows the same basic idea as mWarped Linear Prediction Filter, but this time the filter can have a higher order, the residual signal after whitening can be shifted faster or slower, saturated or decimated. Furthermore, most parameters can be made targets of two LFOs and the envelope follower, in addition to which the output is fed back through a delay line and analyzed along with the input.

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dsp.trilete.net

Macomate 88 is a comb filter VST plug-in for Windows.

An input signal is fed into an array of parallel comb filters. These comb filters are tuned using a microtuning .TUN Scala file, and individual filter decay, brightness etc. can be set using the GUI. The filters’ output volumes can be increased by their corresponding notes using MIDI channels #1, 3-16 and a monophonic feedback line can be tuned via MIDI channel #2.

The effect can be used as a reverb, a tuned resonator, a plucked string instrument, a horribly distorted feedback generator and many combinations thereof.

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dsp.trilete.net

Mukoco is a comb filter based on the core code from MutantKoto.

The algorithm is an abstraction of a simple plucked string physical model, it is used as an effect on a stereo input stream. The left channel is fed into string polarization A and the right channel is fed into string polarization B. The MutantKoto model acts as an optionally non-linear comb filter on both channels.

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dsp.trilete.net

2WarpDelay pairs two warped-lattice IIR filters with a pair of delay lines and a bitmap which it scans to extract filter coefficients.

A stereo signal is fed through two delay lines followed by a warped IIR lattice filter. The lattice filter can be of any order from 1 to 80 and uses reflection coefficients extracted from an image. This output is fed through a saturation stage and a ducking / limiting stage before being fed back, again, into the delay lines. The lattice filter is warped, and by adjusting the warping parameter its frequency response can be easily adjusted.

Resonance controls the distance between spectral peaks and spectral valleys in the filter transfer function, and cutoff controls the cutoff of a first-order low pass filter that follows the lattice filter.

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dsp.trilete.net

The Warped LPC filter plugin simulates the structure of a warped linear-predictive codec implemented with warped lattice filters.

Linear prediction coding ’whitens’ a signal by performing a spectral analysis and filtering out peak components. The output can then be used as the input to a similar reconstruction filter that adds the spectral peaks removed in the first step.

Warping the frequency scale of the predictor allows for the frequency scale to match the human auditory system. Individual adjustment of the warping parameter at each stage allows the user to create interesting effects by filtering using a frequency-dependent adaptive filter, and filter coefficients can be rotated to create bizarre phasing effects.

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dsp.trilete.net

The Warped LPC filter plugin simulates the structure of a warped linear-predictive codec implemented with warped lattice filters.

Linear prediction coding ’whitens’ a signal by performing a spectral analysis and filtering out peak components. The output can then be used as the input to a similar reconstruction filter that adds the spectral peaks removed in the first step.

Warping the frequency scale of the predictor allows for the frequency scale to match the human auditory system. Individual adjustment of the warping parameter at each stage allows the user to create interesting effects by filtering using a frequency-dependent adaptive filter, and filter coefficients can be rotated to create bizarre phasing effects.

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odosynths

Odd Odo Delay is a dual-channel BPM syncable delay with resonant filter.

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odosynths

MYFX AFM is an FM (Frequency Modulation) and AM (Amplitude Modulation) effect plugin with 2 filters (switchable LP/HP/BP) and a ’crosser’.

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odosynths

sweepie is a simple dual rotating filter effect

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Not Rom Records

A simple filter with LFO.

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Rick Jelliffe

The Juicer produces an effect that the ear hears as a complex of phasing, stereo pans, echo and chorus, occassionally
coming together into a massive phase effect, yet without clouding the harmonic information the way echoes do.
There are six independent band-pass filters, three per stereo channel, each with independent low
frequency modulation, and a sample and hold unit for scintillation.

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Rick Jelliffe

Impulsive is a pink noise generator sent through a ten-band filter bank to a simple envelope gate. Playing any MIDI note will generate the burst, which can be, for example, saved to a .WAV file and loaded into the SIR reverb unit.
Effects including thickening, mild
chorus, frequency-dependent, panning, echos and reverb can be created this way.

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Askywhale

DetectComp is a donationware Windows VST DLL.
Features :

* Realtime multi-criterion numerical analysis :
o High and low velocity
o Stereo deviation
o High and low frequency mean
o Compression statistical indicator
o Peak and RMS progressive values
* Velocity Distribution computation
* Frequency Distribution computation
* Velocity and frequency evolution

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AZ Audio

Aeiou is a vocal filter - its purpose is to apply the spectrum characteristics of the mouth to the input signal by filtering it. By applying the effect to rich signals (saw or square oscillations) it gives the illusion of a human who is sustaining a vowel such as ’a’ ,’e’ ,’i’, etc.

The effect parameters are:

* The most important is ’vowel’.
* ’Size’ can be used to spread the output bandwidth.
* ’Slope’ can be used to give some brightness to the result. Technically it is increasing or decreasing the filters gain on the frequency axis.
* ’Peaking’ is a minor parameter. It can be used to increase the filters resonance but it will also reduce the bandwidth.
* When ’Smooth’ is set to 0, the vowel transitions are direct, when set over 0 they are smoothed.
* The ’mix’ knob adjusts the amount of wet signal at the output.

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AZ Audio

a classic doppler effect. It combines a pitch shifter and a rotator to reproduce the effect a static listener can hear when a train or a car is moving fast. It is based on two synced LFOs with an adjustable phase difference which can be synced to the host.

ADopplerEn is available for Windows as a VST effect plug-in. It is released as donationware, free for non commercial use.

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AZ Audio

This effect is particularly designed for real time or live audio
work.The main idea behind this effect is ’triggering’ : fx selection , fx ’synced parameter’ and signal mixing can
be performed directly from two benchs of buttons or more simply from midi CC or midi notes.

* 1 fx selector “button bench” (F-B-P)
* 1 synced value “button bench”(F-B-P)
* 1 fx tracker (sequencer) (P)
* 2 synced delay with feedback, high and low damping (stereo or stereo merged) (1F-1B-2P)
* 2 glifter (glide/drift) to produce some scratch/tape stop-like /granular fx (stereo or stereo merged) (1F-1B-2P)
* 2 flanger with feedback damping (stereo or stereo merged) (1F-1B-2P)
* 2 six stages standard phaser (stereo or stereo merged) (1F-1B-2P)
* 1 decimator unit with sampling rate reduction , bit depth reduction and a saturation (F-B-P)
* 1 realtime slicer with looping speed control ,random reverse and a quantized variator (F-B-P)
* 2 “ring accumulator” with feedback and low damping (stereo or stereo merged) (1F-1B-2P)
* 2 tri combs with a chord selector, feedback and root note selector. (stereo or stereo merged) (1F-1B-2P)
* 2 dynamique FM oscillators , with amount and channel specific carrier frequency (P)
* 1 sound reverser (P)
* 1 frequency shifter with a delay line and feedback (P)
* 1 granular pitch shifter with a delay line and feedback (P)
* 1 granular pitch shifter without ’accumuluto’ with with more accurate setting (P)
* 1 granulator with grain speed/size and grain repeat (P)
* 2 LP 4 poles filters with sin or tan saturator (P)
* 1 doppler based on the ADopplerEn vst plugin (P)
* 1 chorus with 2 modulated voices per channel (P)
* 1 miultitaps delay with 4 tape heads ,and damped feedback (P)
* 1 shared lfo with 6 shapes (sin,tri,square,saw up,saw down and sample & hold) (F-B-P)

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Terry West

Simplicity for vocals - fundamental edition.

# Dynamic mono vocal compressor/limiter/enhancer.
# Four bands “F” equalizer.
# Autogain and Pre-Limiter.
# Auto Noisegate.
# Auto Band-off.
# Two “F” EQ models.
# EQ activity/bypass leds.
# Harmonic Exciter.
# Low-Mid-Hicut.
# Vocal Doubler effect.
# Pre in/Post out gain.
# In/out/reduction meters.

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Terry West

For narrowing a stereo signal with one slider.

# Locked pan sliders.
# Seperate volumes.
# Master pan and volume.
# Five presets.
# Bypass and invert.

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Terry West

The Ultimate Vocal Solution…

Compressor:
# InputGain, Attack, Release, Ratio, Threshold and OutputGain controls.
# Bypass, EQ on/off, Meters on/off.
# Input/output/reduction meters.
# Autolinked Ratio/Threshold.
# Numeric Peak indicators.
# Saturation control.
# Semi Autogain by Threshold.
# Auto input limiter.

Equalizer:
# Low, LowMid, HighMid, High controls.
# Hicut, Lowcut, Midkill, Fine on/off.
# 4 resonance controls.
# 3 Equalizer models with
attunate controls (sibilance).

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Terry West

The flexible allrounder…

Highpass filter.
Four flexible paremetric bands (Lowmid, Highmid, High-1, High-2).
All bands has selectable frequencies, total range from 35 kHz ~ 15 K.
Resonant filter per band.
Solo and Boost per band.
Bypass per band and global bypass.
Main volume out.
Stereo and mono versions.

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Terry West

- Five flexible paremetric bands (Low, Lowmid, Mid, Highmid, High).
- All bands has selectable frequencies, total range from 20 kHz - 20 K.
- Three Q-points per band.
- Solo and Boost per band.
- Bypass per band and global bypass.
- Main volume/pan out.

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