94 MB

Phizmo is a transwave / wavetable synthesizer inspired by the Ensoniq Fizmo. It closely emulates its behaviour, but is not a 1:1 clone. Phizmo scans through multi‑cycle wavetables (“transwaves”) along editable evolution curves, with two oscillators per voice, a full modulation set, an arpeggiator, per-voice insert effects and global reverb, and a set of
real‑time performance macros.

Phizmo looks for its content in your Documents folder. Create this structure and copy the files in as described in the download.

Presets in Documents/Phizmo/Presets show up in the LOAD browser and are where SAVE writes to.
Wavetables in Documents/Phizmo/Wavetables appear in the per‑oscillator LOAD menu (the little LOAD button inside each wavetable viewer). Presets already embed the wavetables they use, so a preset will load its sound even if the loose .wav isn’t installed, but you need the Wavetables folder if you want to load tables into oscillators yourself. You can also simply drag‑and‑drop a .wav straight onto a wavetable viewer, same for presets.

Voice vs. Oscillator (the core concept)

Phizmo has two levels of sounds, and the panel is labelled to make the scope of every control clear.

Voice (4 of them – the EDIT / ON VOICE row, top‑left)
A Voice is a complete layer/patch with its own keyboard zone. You can stack or split up to four Voices across the keyboard to build a single
sound. Each Voice has its own LOW KEY / HIGH KEY range, its own level, and its own full parameter set. (Internally the code calls a Voice a “Sound.”)

Oscillator (2 per Voice – the EDIT / ON OSC row)
Inside every Voice are two oscillators, OSC 1 and OSC 2. Each has its own transwave, evolution curve, tuning, pan, level and wave settings. Ring modulation and the A/B mix combine them.

So the full layout is 4 Voices × 2 Oscillators = up to 8 Transwaves playing simultaneously.

Every section title shows what it affects: GLOBAL, PER VOICE, OR PER OSCILLATOR.

EDIT buttons (1–4 for voices, OSC 1 / OSC 2 for oscillators) choose what the panel is editing right now. They don’t change the sound, they change what the knobs point at. ON buttons switch a Voice or an Oscillator in or out of the sound.

Transwaves & evolution (how the sound moves)

Each oscillator plays a transwave: a wavetable made of many single‑cycle frames. Instead of a static waveform, Phizmo scans through the frames
over time, which is what gives it its living, morphing character besides the unique tonal character of the transwaves themselves.

The evolution editor (the big graph under each wavetable viewer) is the path the scan follows. Draw the curve, or use FLAT / RAMP / STEP presets. EVO sets how fast the scan moves; SCAN sets the direction/style (forward, backward, ping‑pong, one‑shot…). The moving dot on the curve is the live playhead. STEP mode jumps frame‑to‑frame.

Credits

The whole concept of Transwaves and the design idea belongs to Ensoniq. The transwave wavetables and the preset names as well.

The code, the DSP engine, the GUI, the preset/wavetable system and all the fixes along the way, was written by Claude Opus 4.8, the AI by Anthropic, working from my direction across a series of conversations.

Visit Developer Site

Aquanode.Phizmo  ( 123 MB )

83 MB

The ultimate free amp sim.
Play iconic amps with the most accurate modelling available.
NAM Rig uses Neural Amp Modeler technology to replicate the exact sound and feel of real amps, pedals and cabs.
Drag-and-drop your own NAM files or choose from thousands of free models on Tone3000 – without leaving the plugin.

In Partnership with
TONE3000
Free access to over 500,000 models. Built-in.
Tone3000 is a rapidly growing collection of amp profiles shared by users.

NAM Rig let’s you easily browse & search the Tone3000 library and load any amp, pedal or cab with a single click.

Save your favorites and create your chains as presets.

Model your own gear on TONE3000 and play them directly inside NAM Rig.

Amp previews

Hear NAM Rig in action.
Switch between captured amps while the take stays locked.

Plugin or standalone

NAM Rig runs as a plugin in your DAW or as a standalone app for quick plug-and-play jamming.

VST3
AU
AAX
macOS
Windows

START PLAYING TODAY.
Free. Accurate. Unlimited.

Visit Developer Site

NAM.Rig.1.0.0.WIN  ( 51 MB )

NAM.Rig.1.0.0.MAC  ( 56 MB )

259 MB

Fragile Violin started with a simple idea: to capture the quieter, more vulnerable side of the violin.
Not the big polished Hollywood string sound, but the small human details that often get lost in traditional sample libraries: the bow noise, the soft attacks, the uneven pressure, free bowing movement, and the feeling of a real player sitting close to the microphone.

I worked with multiple players to get too interesting articulations that are out of the norm.

Every sample we recorded are around 1:30 minutes long violin performances with multiple players feeding of off each other. This leads to a Sampler that has reel movement and is constantly changing, without ever hitting the looppoint. Every sample has 5 round robins to keep the sound interesting.

This free version gives you a small taste of a larger instrument built around fragile Violins, unusual articulations, and emotional imperfections.

The library is heavy reliant on the CC1 Modulation wheel, this is what brings the library to life.

Every Articulation has 3 different “Mixes”
Mix mode- normal mix,
Warp mode – all the samples are re-recorder through a broken Tascam 422 – 4 track.
Soma Mode – in this mode all the samples are procesed through the Soma Lyra FX chain plus extra analog filtering.

As a film composer, I often look for sounds that do not immediately scream “epic,” but instead sit close to the picture, breathe, and feel human, and have built-in mistakes, That is what I wanted this instrument to be. I hope you make something beautiful with it.

Visit Developer Site

Fragile.Violins.Free  ( 259 MB )

30.8 MB

Modular sound glitcher/mangler. Mango is a rubber step sequencer of up to eight lanes, each driving one effect. You draw blocks on a lane’s strip; while the playhead is inside a block, that lane’s effect is processing; outside it, the lane is transparent. So you paint when each effect happens, in time with the host, and the lanes stack into a chain from top to bottom.

The character is seeded randomness. Effects that need a rhythmic rate don’t take a fixed value: you weight how likely each note length is, and the actual rate is drawn per block. Every draw is a pure function of the seed, the lane and the block, so a pattern always plays back identically (in real time and in an offline bounce alike), and changing the seed re-rolls everything at once.

Getting started
1. Insert Mango on a track that already has sound going through it (it is an effect, not an instrument).
2. Drag across empty space on a lane’s strip to draw a block, then press play (the lane’s effect fires while the playhead is inside it).
3. Click the block to select it (highlighted): the right column shows that lane’s effect knobs, and the block overrides field at the bottom lets you retune this one block with a line of text (see below).
4. Change a lane’s effect with the dropdown in its header; reorder lanes with the ▲▼ arrows (order is the processing chain); use M/S to mute/solo.
5. Turn the Seed knob to re-roll every random choice at once; set Steps and the step size to size the grid.

Visit Developer Site

Mango.0.1.0  ( 31 MB )

26.5 MB

Glitch and Stutter Audio Effect. Drox II Pro is a versatile multi-effect device designed for creative audio manipulation in real time. It combines four powerful engines that can be used independently or together, giving you total control over rhythm, pitch, texture, and timing.

Dropout
Instantly chops or mutes the audio for rhythmic or glitchy effects. You can sync dropouts to tempo or trigger them manually for precise timing.

Jump (CD Skip)
Simulates tape or CD skipping, creating abrupt jumps forward or backward in the audio. Perfect for glitch, stutter, or rhythmic rearrangements.

Tape Stop
Emulates classic tape slowdown effects, with adjustable start/stop times and tempo-synced behavior. Includes modulation for both realistic and experimental pitch and rate changes.

Stutter — From Full Chaos to Complete Control
The Stutter Engine redefines repetition and rhythm, offering granular-level control over every repeat. It can move effortlessly between unpredictable chaos and precise, sequenced design, making it a true centerpiece for creative sound manipulation.

Each repeat runs through a complete per-repeat processing chain, giving you full sonic control:

1. Pitch Section: Individual pitch shift, pitch spread, pitch bend, and vibrato per repeat.
2. Modulation Stage: Add FM (PM) modulation for metallic or expressive tonal motion.
3. Distortion Stage: Four per-repeat distortion types — tanh, hard clip, wavefold, and bitcrusher — for everything from subtle drive to total destruction.
4. Filter Stage: Apply low pass, band pass, high pass, formant, or comb filters, all per repeat.
5. Panning: Set individual panning positions for each repeat to create detailed stereo motion.
6. Reverb: Add per-repeat reverb to place specific repeats in space or create evolving depth.
7. Envelope Shapes: Choose different window envelope curves to sculpt attack, decay, and transient emphasis.
8. Sequencing: Use dedicated sequencers to compose every repeat like a musical pattern, with the ability to save and load sequencer data for instant recall.
9. Randomization Systems: Multiple randomization modes per repeat, including fully random and probabilistic systems, allowing control from total unpredictability to subtle variation.
10. Tempo Synchronization: All parameters can be synced to project tempo for precise rhythmic control.
11. Simplified Stutter Layout for a faster workflow, providing essential stutter controls for quick creation and triggering without the distraction of advanced settings.

The Stutter Engine gives you the power to go from full chaos to complete control, producing anything from wild glitch bursts to meticulously crafted rhythmic patterns — perfect for sound design, remixing, and live performance.

Highlights
– Each engine can operate independently or together for complex, layered processing.
– Tempo-synced or manual triggering options for all engines.
– Extensive per-repeat and per-event sequencing in the Stutter Engine.
– Advanced randomization systems with fully random or probabilistic behavior.
– Save, load, and recall presets for both global settings and sequencer configurations.
– Snapshot System for saving individual module settings and recalling them instantly, with support for triggering snapshots from the DAW piano roll or an external MIDI controller.

Drox II Pro is made for producers, sound designers, and live performers who want to transform audio in real time with precision, creativity, and a balance between chaos and control.

Visit Developer Site

Drox.II.Pro.1.1.0  ( 27 MB )

18.6 MB

Gliff is a MIDI effect for turning incoming notes into guitar-aware chord information and clean polyphonic MIDI. Put it on a MIDI track, play from a keyboard, MIDI guitar, DAW clip, or the on-screen fretboard, and it names the chord while showing a playable fretboard shape.

The important distinction is that Gliff is not an audio-to-MIDI converter. It does not listen to a recorded guitar signal; instead, it translates MIDI note data into guitar voicings, inversions, slash-chord interpretations, and output that can be dragged back into a DAW clip.

That makes it useful when you already know the harmony but want it to behave more like something a guitarist could play. Alternate tunings, custom tunings, capo modeling, real-time chord naming, and a one-bar MIDI drag workflow make it a compact helper for producers sketching guitar-like parts, guitarists using MIDI hardware, and keyboardists who need better fretboard logic inside a normal writing session.

Key Features
– Names held MIDI chords in real time, including slash chords, inversions, and partial matches.
– Shows incoming harmony as both a fretboard shape and a piano view for quick translation between instruments.
– Writes clean polyphonic MIDI output that can be routed to other instruments in the DAW.
– Lets users click the on-screen fretboard to audition voicings through the plugin’s MIDI output.
– Supports drag-and-drop of a one-bar MIDI clip from the plugin into the DAW timeline.
– Includes built-in standard, drop, DADGAD, open, ukulele, custom tuning, and capo options.
– Ships as macOS VST3/AU, Windows VST3, and a Max for Live device for Ableton Suite.

Visit Developer Site

gliff.1.5.0  ( 12 MB )

30/229 MB

Play everything.
Capture anything.
Export anywhere.
NAM 9000 is two apps in one: a complete amp-sim rig — pedals, dual amps, studio EQs, cabs and FX — and a built-in capture studio that turns your real amps into standard .nam files. Yours to keep: load them in any NAM player, or export straight to NAM hardware. Both apps free.

A full rig, and the machine that builds rigs

Everything between your guitar and the mix
Paged like a real rig: pedalboard, amp head, rack, cab. No menus buried in menus.

The pedalboard
Gate, Tube Screamer, compressor, pitch, chorus, phaser, flanger, tremolo — plus the CAPTURE pedal: a second NAM engine that runs captured drive and fuzz pedals in front of your amp, simultaneously.

Two NAM engines at once — pedal capture into amp capture
Pedal captures from TONE3000 auto-route here
Tape delay and four-engine stereo reverb — room, hall, spring, plate — with trails bypass

The ampGlowing tube head, multi-capture cycling on the faceplate, Full/Lite quality toggle.
Stacked graphic and parametric EQ panels with live analyzers
Two studio EQs
10-band graphic rack and an 8-band parametric with HP/LP — stacked panels, both in the chain at once, each with its own live analyzer.
4×12 cabinet page
The cab
Classic-style 4×12 with IR loading. Amp+cab captures auto-bypass it — no double-cab mud.
Profile browser with brand folder tree
The library
Hundreds of profiles in a resizable brand-tree browser — search, favorites, folders, one-click load.

Your amp, immortalized
Profiling isn’t an external tool or a paid add-on — it’s a page in the plugin. Setup → Test → Capture → Train → Compare, all guided.

The capture studio
NAM 9000 plays the official NAM capture sweep through your rig, records what comes back, and trains a neural model on your own machine — GPU-accelerated, nothing uploaded anywhere. No NVIDIA GPU? One click exports the recording to TONE3000 and trains it free in the cloud. This is the actual capture scene from the plugin, cloning a rig on loop:

Capture amps, drive pedals, or full amp+cab rigs
Built-in level test and sweep calibration
A/B compare the clone against the real amp when it’s done
Output is a standard open .nam file — not a locked format
Export any capture for NAM hardware — Dimehead, HoTone, Darkglass and friends
Share on TONE3000 or keep your secret sauce private
YOUR RIG
THE CLONE
READY
waiting to record
🎸
Hook up your amp
Interface out to the amp, mic or load box back in
›
📡
Play the sweep
The plugin sends the calibrated capture signal through your rig
›
🧠
Train locally
The neural trainer runs on your own machine
›
⚡
your-amp.nam
Lands in your library, ready to play or share

Powered by community

250,000+ captures, zero cost
NAM 9000 speaks directly to TONE3000, the largest open library of neural amp captures. Search by gear, audition, one-click download — amps, pedals and full rigs route to the right slot automatically.

Search with gear and architecture filters (A1 / A2)
Pedal captures auto-route to the CAPTURE slot
Amp+cab captures auto-bypass the internal cab
Multi-capture tones download on demand as you cycle

Free. No account. No strings.
One email, both installers — Windows and macOS links land in your inbox. Free, no account, unsubscribe anytime.

⚙️ Requirements
Windows 10 / 11, 64-bit · ASIO interface recommended
macOS 11 (Big Sur) or later, Apple Silicon or Intel
VST3 / AU host (any major DAW) or run standalone

Visit Developer Site

NAM.9000.1.8.0  ( 327 MB )

9.30 MB

Grizzly is a stereo modulation effect modelled on the 1979 Gristleizer circuit. An internal LFO drives a modelled JFET stage that either ducks the amplitude of your signal or sweeps a lowpass filter across it. It is designed to behave a little like the original pedal did — not quite predictable, with a texture that changes depending on what you feed it.

Place it on anything: drums, guitars, synths, vocals, whole busses. No presets, no menus. Ten knobs and a bypass.

Visit Developer Site

Grizzly.1.0.0  ( 9 MB )

16.2 MB

A finite-difference time-domain physical modelling synthesiser.

1. Model
PartialString simulates the vibration of a plucked string by numerically solving the one-dimensional wave equation in real time using the finite-difference time-domain (FDTD) method. The string is represented as a list of displacements in memory. A lower note requires a longer string, which needs more points to represent it. You can then excite the string at any point along its length, and the FDTD scheme will compute how that change in displacement propagates. A pickup measures the displacement at a chosen location, and this generates the audio output. 10-voice polyphony is supported (up to 10 simultaneous strings), but this is dynamically adjusted based on your computer’s capability and the lengths of the string being simulated.

2. Controls
You can set the position and shape of the excitation, both velocity-sensitive. An LFO can sweep the pickup position, up to audio rate for AM-like sidebands. The string’s decay time is adjustable, with or without dampers applied. The dampers can behave like a piano’s, closing when a note ends. Combined with a long undamped decay, this makes pad-like sounds. Reducing the simulation accuracy generates unrealistic, soft and inharmonic sounds. Accuracy can be set constant for all notes, or proportional to string length (which can help prevent CPU overload on less-capable machines).

3. Performance
Simultaneously simulating many low notes (long strings) accurately is quite computationally intensive. On less capable computers, PartialString will automatically limit the number of sounding voices to prevent CPU overload, and this is indicated on the UI. You may notice that the synth behaves monophonically in low registers.

There is an option to prevent too-low notes (those estimated to cause overload on your machine even when played monophonically) from sounding, or to automatically pitch them up an octave or two to maintain performance. This option only takes effect when the synth is being used in real-time (i.e. not when your DAW is bouncing or freezing tracks).

On Apple Silicon Macs (M-series), running an Intel-based DAW forces the plugin to run through the Rosetta 2 translation layer, which can significantly reduce CPU performance. For the best results, ensure you install and run an Apple Silicon native (or ‘Universal’) version of your DAW.

Visit Developer Site

PartialString.1.0.3  (16  MB )

36 MB

Turn any folder of samples into a playable instrument.
Drop a folder of samples and Pathfinder scatters them into a living field of light. Draw a path to play it, pull a sphere apart into tempo-synced grains, and shape the whole thing with effects.

Four moves. That’s the whole instrument.
No menus to learn. You drop, draw, explode, and shape — and the field responds in real time.

Drop in a folder
Drag any folder of samples straight onto the plugin — it analyzes each one and scatters them into a 3D field. Brighter, closer spheres are the sounds it likes best for playing.

Draw a path to play
Trace a line through the field and Pathfinder plays every sphere it crosses, in order. The shape of your line becomes the rhythm and melody of the phrase.

Explode a sphere
Grab a single sound and blow it apart into tempo-synced grains. One sample becomes a swarm you can re-scatter, re-pitch, and play back as a texture.

Shape it with FX
Drag effects into any order — reverb, degrade, flair, delay and a granular engine — and reorder the chain live to sculpt the field into a finished sound.

A granular sampler that feels like an instrument.
Your samples, mapped
Nothing is baked in. Feed it your own drum kits, field recordings, or one-shots and it builds a fresh field from whatever you give it.

Drawn, not programmed
Paths are performances. Draw fast or slow, jagged or smooth — the gesture is the sequence, so no two takes are the same.

Tempo-synced grains
The granular engine locks to your DAW. Explode a sound and every grain lands on the grid, from tight stutters to slow, drifting clouds.

// the toolkit
Everything inside.
A whole sampler lives under the map — scan, draw, sequence, edit and process, all in one instrument.

Particle map
Every sample becomes a sphere, auto-sorted into kick, snare, hat, perc, melodic, texture, vox and FX.

Category detection means you find the right sound by where it sits — not by scrubbing filenames.
Draw the path
Play any route from MIDI, tempo-locked and pitch-corrected to your project key and scale.

Key detection lets samples from totally different sources play in tune together — no manual retuning.
Layer mode
One key fires your whole captured group as an instant stack.

Explode
Select a sample and slice it into tempo-synced chunks scattered back onto the map.

A fast way to turn one hit into a whole palette of rhythmic fragments.
Step sequencer
Per-lane sounds, with swing and nudge.

Deep sound editor
Trim, envelope, pitch and volume per sound, plus a chromatic pitch-tracked keyboard for any sphere.

Five-effect chain
Reverb, Degrade, Flair, Delay and a tempo-synced Granular engine — drag to reorder, with full parameter pages.

Presets that remember everything
Paths, sequencer, effects, categories and settings, all saved together.

MIDI CC learn · scalable interface · built-in walkthrough

// techniques
Things to try.
No two folders make the same map. No two paths make the same instrument. A few places to start:

In-key arps
Draw a path across only your melodic spheres for evolving arpeggios that stay in your song’s scale.

Granular textures
Explode a vocal or pad, then draw a new path through the fragments for moving, atmospheric fills.

Kits from chaos
Lasso your kick, snare and hat spheres and build a drum pattern in the step sequencer from found sounds.

Instant chords
Capture a melodic group in Layer mode to turn any folder into a one-key chord instrument.

Visit Developer Site

Pathfinder.1.0.4.WIN  ( 8 MB )

Pathfinder.1.0.4.MAC  ( 2 MB )