116 MB

CM-1B: Vintage Analog Opto Compressor Plugin
The Vintage Opto Compressor That Adds Weight And Glue To Any Source
CM-1B is a vintage analog opto compressor modeled on a legendary Danish unit, bringing weight and glue to vocals, drums, guitars, and pianos.
Smooth, musical compression with a simple set of controls, so any source sits in the mix without losing its life.

The Compressor You Reach For When a Vocal Needs to Sit Just Right
Some compressors control the volume. The right one makes the whole performance come together.

And it goes well beyond vocals.

Give bass a steady foundation, add breathing weight to drums, or push room mics into thick, sustained compression. Use the parallel blend to bring that energy back underneath your original signal.

How Does CM-1B Work Exactly?
Load CM-1B onto your track, lower the threshold to introduce compression, and set the ratio for how firmly it controls the signal.

FIXED: Effortless Vocal Leveling
Built-in attack and release behavior follows the performance phrase by phrase. A natural starting point for smooth, consistent vocals.

MANUAL: Shape the Movement
Take control of attack and release to dial in the response yourself. Preserve the punch of a drum hit, soften sharp transients, or bring out the sustain in room recordings.

FIX/MAN: Fast Control, Smooth Recovery
Combine a fast fixed attack with a release that responds to the passage, catching sudden peaks while recovering more gradually through sustained material.

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Cymatics.CM-1B.0.2.5  ( 116 MB )

4.82 MB / 12.63 MB

One sidechain plugin with four engines: a ducker that follows your kick, a tempo-locked volume shape you can draw, audio-rate ducking straight off the trigger’s waveform, and a spectral carve that only takes the bands the sidechain is using.

Four sidechain engines in one plugin, each solving the same problem a different way: getting your bass, pads and vocals out of the kick’s way.

DUCK: follows the signal
A ducker with 5 ms lookahead that reacts to what your kick actually does: its level, its timing, its groove. Attack, Hold and Release shape the response; Peak, ISP or RMS detection decides what “loud” means. Range goes past 100%, so quieter hits still duck hard. With nothing plugged into the sidechain it becomes a limiter against the threshold.

LFO: locked to the clock
Volume automation that ignores the sidechain entirely: a shape locked to host tempo, from 4/1 down to 1/32, that pumps identically every bar whether or not a kick plays. Saw, sine, triangle, square — or draw your own curve with breakpoints and bendable segments, snap it to the grid, and watch the playhead run through it. Trigger from the beat grid, or restart the shape on any MIDI note.

RING: sample-accurate, no lag
Audio-rate ducking: the trigger’s own waveform, rectified, becomes the gain.
No envelope follower means no attack or release lag — the input is driven down on the exact samples the trigger peaks on. Smooth rounds the edge when the zero-crossings get crunchy. Source switches between the sidechain and an internal oscillator.

CARVE: room in the spectrum, not the fader
Instead of turning everything down, a third-octave filter bank listens to the sidechain and cuts only the bands it is actually using. The two stop fighting over the same frequencies while the rest of your input keeps its level. Tilt weights the carving toward highs or lows; Smooth shares a cut with neighbouring bands.

WHAT’S IN IT
– Stereo sidechain bus, with a Stereo control from fully linked to each channel following its own side
– Mix and Output on every mode
– 5 ms lookahead, reported to the host and compensated — it never changes, so your host never restarts the plugin mid-session
– Every control is a host parameter, automatable by name; the drawn LFO shape saves with the project
– A level scope showing the input and the gain being applied to it

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Cider.0.1.0  ( 17 MB )

52.7 MB

Free Bus Compressor with Multi-Instance Control. Bring a mix together, give drums more punch, or blend in a little extra density. An independent take on British console bus compression — with connected control across your Gluon instances.

Open Gluon Map from any instance to see the settings and levels of connected instances. Adjust them individually, or use Global Control to make relative changes across them — lower every threshold by 1 dB, for example — without opening a pile of plugin windows. Remote controls and meters work even when those windows are closed.

Press Learn and play ten seconds of your material. Gluon compares the input with the compressed blend and sets a fixed MakeUp gain to bring their perceived levels closer. The gain then stays put while you listen and fine-tune.

The independent output stage offers Hard Clipper, Soft Clipper and Limiter modes, with Off / 2× / 4× / 8× oversampling. You can use it with or without the compressor.

You also get:
– Expanded attack, ratio and release choices, including Auto release.
– Dry/wet mixing and adjustable compression range.
– External sidechain, HP/BP/LP sidechain filters and stereo link.
– A/B comparison, Undo/Redo and user presets.
– Five factory presets as starting points.
– Light and dark themes, with interface scales from 0.75× to 2×.

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Gluon.1.0.0  ( 53 MB )

6.52 MB

Authentic 76-style FET compressor, modelled as the circuit. Feedback detector, a gain cell that bottoms out, and distortion that rises with the compression.

Features
– Two Controls: INPUT drives the signal past a fixed threshold, OUTPUT puts back what that cost
– Three Timings: FAST, NORMAL and SLOW select attack and release together
– Stepped Knobs: 21 detents each, 3 dB apart, 0 dB at the centre – hold Shift for 1 dB
– Full Metering: Stereo input and output peak meters plus a gain-reduction strip
– VST3 Automation: Full parameter automation support in DAWs
– Resizable UI: Right-click the panel for UI Zoom – 75%, 100% or 125%

FET Rack-Style Character
– Feedback Detector: Taken from the output of the gain cell, so the 4:1 is a closed-loop ratio that softens on its own near the threshold – no knee control needed
– One Sample of Loop Delay: The detector cannot see a sample until it has been through the cell, so the leading edge of a transient gets through
– Gain Cell That Bottoms Out: A hard floor at 38 dB of reduction; past that, driving harder buys distortion rather than compression
– Distortion That Tracks Compression: 0.02% at rest, 2.9% at 19 dB of reduction, because the device setting the gain is the device making the harmonics
– Four Amplifiers: Input transformer, gain cell, single-ended class-A preamp (2nd harmonic), push-pull class-A output into the output iron (3rd)
– Two-Constant Release: Fast and slow paths in parallel, the slow one weighted by how deep the reduction went
– Per-Stage Noise and Crosstalk: Every stage adds its own noise and leaks into the channel beside it; -40 dB total, -93.7 dBFS floor
– Component Tolerance: 2.5% per channel, so the two sides are never quite the same channel twice

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WetCompressor.1.0.1  ( 6 MB )

58 MB

CHILI CLIP: Visual FX Engine
The Sauce Behind Hard Hitting Mixes
Cymatics CHILI CLIP is a fast, punch-first soft clipper built to make drums hit harder, 808s feel heavier, and full mixes sound louder without flattening their energy.

Push your sound into the clipping stage with INPUT GAIN, control how aggressively the peaks get rounded with THRESHOLD, then use POST to set the perfect final level.

Three knobs. One visual graph. All heat.

The Sweet Spot Between Clean and Crushed
CHILI CLIP gives you the impact of aggressive clipping without immediately destroying the character of your sound.

As your signal crosses the threshold, harsh peaks are smoothly rounded down while the weight underneath is pushed forward. Drums become tighter, 808s feel denser, and entire mixes can reach a louder, more controlled level.

The extra sauce is INPUT GAIN. Instead of reaching for another gain plugin before your clipper, you can drive the signal directly into CHILI CLIP and hear exactly how the clipping stage reacts.

How Does CHILI CLIP Work Exactly?
CHILI CLIP smoothly rounds off the loudest peaks in your audio, giving you more control over the signal while increasing its perceived loudness and density.

The visual graph responds to your settings in real time, showing how the signal is being shaped as you adjust the controls.

There are no hidden pages or complicated menus.

Just drive it, clip it, and turn it down until it hits exactly right.

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Chili.Clipper.1.0.0  ( 58 MB )

32.7 MB

Stereo Clipper with XY Pad + Independent L/R & Mid/Side Control. The idea behind SURVIVE was to make clipping a little more controllable — not only in terms of how hard you push the signal, but also in how the character of the source responds as clipping increases.

You set the basic clipping with Input, Ceiling, and Knee, then use the XY Pad to shift the processing priority among four characteristics:

SUB – low-end weight
BODY – sustained midrange density
PUNCH – transient impact
AIR – high-frequency openness

SURVIVE can also process Left / Right or Mid / Side independently. Keep Link on when you want both components to move together, or unlink them to use separate Input, Ceiling, Knee, Mix, and Output settings.

The real-time waveform display aligns the input and processed waveforms on the same timeline and highlights the regions affected by clipping, so you can see what is actually happening to the signal while you listen.

For more detailed shaping, there are additional controls for Texture, Tone, Shadow, Shadow Time, Width, and Clean Sub.

Main features​
– Independent L/R and Mid/Side processing
– XY Pad for shaping SUB, BODY, PUNCH, and AIR priorities
– Real-time before / after waveform comparison
– Visual indication of the regions affected by clipping
– Input, Ceiling, Knee, Mix, and Output controls
– Texture, Tone, Shadow, Shadow Time, Width, and Clean Sub
– 2x / 4x / 8x filtered oversampling
– ADAA nonlinear clipping
– True Peak detection and ceiling control
– HQ Render mode for offline export
– Three comparison slots with Undo / Redo
– 65-sample real-time processing latency

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SURVIVE.1.0.0  ( 33 MB )

44.9 MB

A simple dynamic EQ that works fast. The Reflexive EQ is quick to configure, due to its automatic gain-staging and simple controls.

The plugin comprises four dynamic EQ bell curves, each of which can be used in compression or expansion mode, processing mid and/or side information.

The device is highly responsive, with adjustable attack and release times for each EQ bell, up to 10ms look-ahead, and minimum-phase filters designed to move quickly without pre-ringing or other artifacts.

Features
– Up to 4 independent dynamic EQ bell curves, each with controls for gain, frequency, Q and attack/release times
– Each EQ bell can process Mid and/or Side information
– Dynamics can be deactivated on individual bells if needed (“Dyn” button)
– Detector frequency range can be customized and auditioned
– Up to 10ms look-ahead
– Automatic detector threshold allows the device to work the same on loud or quiet material
– Optional automatic make-up gain targeting neutral LUFS impact
– External sidechain ducking capability (if using the AU version of the plugin, click “sidechain” in the display to activate; VST3 users can instead double-click “Reflex Acoustics” to deactivate external sidechain connectivity if needed)
– Spectrum analyzer with enhanced low-end time/frequency resolution
– Potentially clashing frequencies are highlighted when an external sidechain is connected
– Resizable user interface
– Factory presets included

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Reflexive_EQ_v1.0.3  ( 44 MB )

25.4 MB

Decompressor is an upward dynamics processor designed to exaggerate the natural level differences that still exist in a signal. When the detected RMS level rises above the threshold, the processor increases level according to the selected ratio, helping flat material feel more animated and responsive.

Make rigid audio breathe
Decompressor is especially useful on drum loops, drum groups and other material whose level has become too consistent. It can bring forward existing accents, strengthen contrasts between hits and add a sense of motion without replacing the original performance. The Dry/Wet control makes parallel processing straightforward, from subtle movement to deliberately exaggerated dynamics.
– Add level contrast to flat drum loops and percussion
– Emphasize existing accents in drum groups
– Create more movement in overly controlled material
– Blend processed and original signal for parallel upward expansion

Seven focused controls
– Threshold sets the level above which expansion begins, from -24 dB to 0 dB.
– Ratio controls the strength of the upward expansion, from 1 to 5.
– Attack sets how quickly the processor responds, from 1 to 200 ms.
– Release controls how quickly it relaxes, from 20 to 800 ms.
– Pre-Gain drives the signal into the detector and processing path.
– Makeup adjusts the output level after dynamics processing.
– Dry/Wet blends the processed result with the original signal.

What Decompressor does not do
Decompressor reshapes level variations that are still present in the audio. It cannot reconstruct information permanently removed by clipping, hard limiting or destructive processing. Start with conservative Ratio and Dry/Wet settings, then adjust the timing to follow the groove.

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Decompressor.1.0  ( 25 MB )

148 MB

Found another interesting plugin for the studio setup! The Cymatics LC-76 Vintage Compressor is a classic-style compressor designed to add character, control dynamics, and bring more energy to recordings and mixes. It’s the kind of plugin that can be useful on vocals, drums, bass, guitars, or even a full mix when you want a tighter and more polished sound.

I’m always interested in trying different compressors because small changes in attack, release, ratio, and input level can completely change the feel of a track. A good compressor can make a performance sound more consistent while still keeping it lively and natural.

The LC-76 has that familiar vintage-inspired look and workflow, which makes it especially appealing for anyone who enjoys old-school studio processing. Whether you’re producing music, mixing tracks, recording vocals, or experimenting with sound design, compressors like this can be a great addition to the creative toolkit.

Definitely one to explore when building a versatile plugin collection.

What’s your favorite compressor plugin for vocals, drums, or mixing? Share your recommendations below! 👇

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Cymatics.LC-76.1.1.0  ( 148 MB )

135 MB

Gravity Channel brings the everyday tools of a mixing chain together in one calm, precise front panel: input trim and polarity, a high-pass filter, a three-band EQ, a smooth compressor, a harmonic BLOOM stage, and a clean output trim. It is built to sit on any track and do the ordinary jobs well – shape tone, control dynamics, add weight or air, and set level – without leaving the strip.

Left at its defaults it stays neutral and transparent, letting the source speak. Color is something you add deliberately, in measured amounts. The three-band EQ is voiced to be easy on the ear: gentle LF and HF shelves (each with two switchable corners) and a swept mid with a proportional Q that stays broad on small moves and grows more focused on larger ones. The compressor is a natural, smooth VCA design with RMS detection – a fixed 2:1 ratio, soft knee, and a fast fixed attack that lets transients through cleanly.

BLOOM is GANUE’s harmonic output stage. It adds gentle, program-dependent second- and third-harmonic content in the spirit of classic Class A transformer output stages, with two voicings: Air for sheen and openness, Body for weight and warmth. A little goes a long way.

Metering is generous: a live EQ-curve display, a scrolling gain-reduction history, IN/GR/OUT bar meters, and an analog VU (switchable IN/OUT/GR). On stereo tracks you also get stereo width and a mono-maker as final stereo shaping.

Free. No iLok, no activation. macOS and Windows.

Feature list

Complete channel strip: input trim + polarity, HPF, 3-band EQ, compressor, harmonic stage, output trim
Musical 3-band EQ: LF/HF shelves with switchable corners, swept proportional-Q mid, +/-12 dB per band
Smooth VCA compressor: 2:1 ratio, soft knee, RMS detection, PRE/POST placement, sidechain high-pass, stereo link
BLOOM harmonic stage: Air and Body voicings, transformer-style 2nd/3rd harmonics, Amount control
12 dB/octave high-pass filter
Stereo width and mono-maker (on stereo tracks)
Rich metering: EQ curve, GR history, IN/GR/OUT bar meters, and an analog VU (IN/OUT/GR)
Per-instance analog channel variation (1-72) for subtle track-to-track character
Up to 8x oversampling, with separate realtime and offline (render) settings
Discrete UI scaling 100-200% and an Advanced compact mode
Factory presets for vocals, drums, bass, guitar, keys, buses, and utility
Fully original artwork; ASCII-only on-screen text for host compatibility

Details / specifications

Developer: GANUE Audio
Version: 1.0.4
Formats: VST3 and Standalone (Windows and macOS); Audio Unit (AU) on macOS
Platforms: Windows, macOS
Price: Free (no iLok, no online activation)

Manual: shipped as a PDF inside each download zip (no separate hosting needed)

Release Notes

A small maintenance release focused on responsiveness. Reopening the plugin window is now effectively instant, and memory use is steadier when you open and close the editor repeatedly. Nothing in the audio path changed – projects made with any earlier version open and sound identically. Available as VST3 and Standalone (and AU on macOS).

Improved

Instant editor reopen

The knob and panel artwork is now decoded a single time for the life of a plugin instance and reused, instead of being decoded again every time you reopen the plugin’s window. On the reference machine, decoding that artwork takes about a second; with 1.0.3 it happens once per session rather than on every reopen, so closing and reopening Gravity’s window is effectively instant (a cached reopen measured well under a hundredth of a millisecond).

Because the artwork is shared rather than reloaded, opening and closing the editor many times no longer churns memory the way it used to.

Much faster loading, much smaller download

The plugin window now opens roughly 2.4x faster (measured 954 ms to 398 ms on the reference machine). The delay you saw the first time you inserted Gravity on a track is largely gone.

The download is less than half the size: 49 MB to 22 MB.

Gravity now uses about 110 MB less memory per instance for its knob graphics.

The knob artwork was re-sampled to the resolution it is actually drawn at. It was previously stored at nearly three times the size it is ever displayed, even at the largest UI scale. There is no visible difference — please do compare.

NOTES

Fully backward compatible with 1.0.0, 1.0.1, 1.0.2 and 1.0.3: same parameters, same presets, same sound. The DSP is byte-for-byte unchanged.

If your host caches plugin scans, do a full rescan so the 1.0.4 build is picked up.

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Gravity.Channel.1.0.4  ( 135 MB )