19.9 MB

Tape Echo 2 is a three-head tape delay and spring reverb, modeled from the record head to the output amplifier. Completely free.

A tape echo is a loop of tape running past one record head and three playback heads. Where the heads sit determines the rhythm, how fast the motor turns determines the tempo, and how much signal you feed back onto the tape determines whether you get one repeat, a rhythmic cascade, or a howling runaway.

Tape Echo 2 models that machine rather than approximating it with a delay line. The three heads share a single motor, so moving the Repeat Rate moves all three together and the tape glides into its new speed the way a real transport does. Age the tape and the wow, flutter, hiss, and level wobble all worsen together. Push the regeneration and the loop saturates, compresses, and eventually self-oscillates.

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Tape.Echo.2.1.0.2  ( 19 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 )

60 MB

HALO A Plugin for Instant Air, Clarity & Expensive High End Shine
Transform dull, lifeless sounds into bright, polished records in seconds.

HALO adds clarity, presence, and brilliant high-end energy to vocals, melodies, drums, samples, and complete mixes, without complicated processing chains.

Breathe New Life Into Any Sound
Sometimes a sound is technically mixed, but it still feels dull, buried, or unfinished.

The traditional solution involves stacking EQ, saturation, and exciters until you find the right balance. Push too far, and the sound becomes thin, brittle, or harsh.

HALO gives you the polished clarity of a professional enhancement chain through one intuitive interface.

Bring vocals forward. Make melodies shimmer. Add definition to drums and samples.

Simply dial in the perfect amount of presence and shine until your sound feels clearer, wider, and more alive.

A High-End Enhancement Workflow Built for Speed
HALO was designed around one goal: making every sound feel more polished without interrupting your creative flow.

Simply place HALO on any track and use its intuitive controls to shape clarity, brightness, dimension, and high-end energy in real time.

You can add a subtle finishing touch that helps a sound sit naturally in the mix, or push HALO further for an unmistakably bright, glossy effect.

Achieve instant clarity, beautiful top-end detail, and the professional shine that makes your music feel polished.

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Cymatics.Halo.1.0.1  ( 60 MB )

16 MB

SHIFTER Real Time Pitch & Formant Shifting
Transform vocals, melodies, drums, and samples using two powerful controls. SHIFTER gives you independent control over pitch and formant, making it easy to create deep vocal textures, pitched melodies, warped samples, and entirely new sound variations in seconds.

Use each control independently for precise sound design or link them together for fast, fluid transformations.

Transform the Vibe of Any Sound in Seconds
Sometimes the perfect sound is already in your project, it just needs to be pushed in a different direction.

Pitch shifting can change its musical register, but pitch alone often isn’t enough to create something that feels truly new.

SHIFTER gives you separate control over both pitch and formant, allowing you to reshape the note, tone, size, and perceived character of any sound.

Quick & Easy Pitch Control for Any Sound
SHIFTER was designed to make pitch and formant manipulation fast, intuitive, and creative.

Use the PITCH knob to move your sound into a different musical register.

Use the FORMANT knob to reshape its tonal character without changing the notes being played.

Activate LINK to move both controls together and explore smooth, dramatic transformations from a single adjustment.

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Cymatics.Shifter.1.0.0  ( 16 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 )

50 MB

MIDI Shredder Plugin Instantly Convert Audio into MIDI Notes in Seconds

Shred Any Audio Into MIDI Notes with 1 Click and Drag
MIDI Shredder is a creative utility plugin that instantly converts any audio into playable MIDI, all through the look and feel of an office paper shredder.

Just drag an audio file directly into the top of the machine and watch it get “shredded” into MIDI notes in real time, transforming melodies, vocals, basslines, guitar riffs, and samples into MIDI compositions you can completely reshape.

Whether you’re extracting inspiration from loops, rebuilding melodies from old ideas, finding basslines or generating instant starting points for new songs, MIDI Shredder turns audio into usable MIDI in seconds with a workflow that’s surprisingly addictive.

How does MIDI Shredder work exactly?
Drop any audio file into the shredder slot and MIDI Shredder automatically analyzes the pitch information inside your sound.

As the file feeds through the machine, the audio visually transforms into shredded MIDI note strips that spill out into the collection bin below, ready to drag directly into your DAW’s piano roll.

Use it to recover chords from samples, turn vocals into synth leads, convert guitar ideas into MIDI instruments, or completely reinterpret existing audio into something brand new.

It’s fast, satisfying, and one of those tools that instantly sparks new ideas the second you start throwing sounds into it.

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Cymatics.MIDI.Shredder.1.1.0  ( 50 MB )

96 MB

Reverie is an audio effect built around a simple idea: everything can resonate.
At its heart is a bank of sympathetic strings, modelled with Karplus-Strong synthesis and tuned to a musical scale of your choosing. Instead of playing them from a keyboard, you excite them with sound. Send in a drum loop and the strings ring out in sympathy with every hit. Send in a pad, a vocal, a field recording, or pure noise, and Reverie reconstructs it as a shimmering, harmonic version of itself, locked to your key. It is the acoustic phenomenon behind a sitar’s drone strings or an open piano with the sustain pedal down, turned into a tool you can point at any track.

But Reverie is more than a resonator. It carries a second engine: an audio-reactive sampler called Texture. Load any sample, foley, percussion, atmospheres, a single struck bell, and it fires or loops in response to your input’s dynamics, following its brightness and even its pitch. On its own, Texture is a reactive layering machine. Combined with the strings, it becomes something new.

The two engines are what make Reverie a single instrument rather than two effects in a chain. Three controls tie them together:

EXCITE routing lets the Texture engine become the excitation for the strings. Load a granular foley sample, give it a rhythm, and the strings resonate with the timbre of that sample and the harmony of your scale. This is the plugin’s signature: a resonator you can feed with textures.
TRACK listens to the pitch of your input and plucks the nearest string of the scale, so the sample and the strings sing the same note. It is an arpeggio that follows your melody.
MORPH is a single macro that crossfades the whole face from pure strings, through both engines together, to pure texture, ideal for automation and for shaping a sound in one gesture.
Around the engines sits everything you need to sculpt the result: twenty-one tuning scales including a custom scale builder, seven string materials, control over decay, damping, dispersion, warmth and stereo width, an excitation filter and bloom stage, a lush reverb with freeze, a feedback delay, and a fully drawable modulator that you can route to seventeen destinations across both engines.

Reverie ships with 48 factory presets, from pure string voicings and melody-tracking harps to deep ambient beds built on the series routing, and its full sample library installs automatically, so it is ready to play out of the box.

Reverie is not a synth. It has no keyboard, no MIDI, no notes to program. Its instrument is whatever you send it. Put it on a send, print it, resample it, or leave it live on a bus: whatever goes in comes back transformed, tuned, and alive.

Feed it anything. Reverie will find the music in it.

Features:

Sympathetic string resonator (Karplus-Strong), driven by incoming audio, no MIDI needed.
Audio-reactive sampler (Texture) with Trigger and Flow modes, load any WAV/AIFF/FLAC.
Signature series routing: the sampler can excite the strings (a resonator you feed with textures).
Note tracking: input pitch plucks the matching string of the scale.
Morph macro: one knob from all-strings to all-texture.
21 tuning scales including microtonal sets (Quarter Tones, Just, Pythagorean, Slendro, Pelog) and a 16-slot custom scale builder.
7 string materials (Plain, Nylon, Gut, Steel, Bronze, Crystal, Felt).
1 to 24 sympathetic strings, tunable spread, detune and glide.
Excitation shaping: high-pass / low-pass filter, tilt, transient emphasis, drive, bloom.
Shared space: reverb with freeze plus a feedback delay.
Drawable modulator with 17 destinations across both engines, free or tempo-synced, forward / reverse / ping-pong.
Independent Dry/Wet for each engine plus a master output.
Sample loop editor with Forward / Reverse / Ping-Pong playback and live loop markers.
48 factory presets with their full sample library, installed automatically.
Formats: VST3 and AU (macOS); the macOS build is a notarized universal binary (Intel and Apple Silicon).
Technical specs:

Type: audio effect (sympathetic string resonator + audio-reactive sampler). No MIDI, no keyboard.
Formats: VST3, AU (macOS only).
MacOS 11.0 or later, Intel and Apple Silicon (universal binary, notarized).
Windows 10 or later, 64-bit.
String bank: 1 to 24 sympathetic strings.
Texture sampler: up to 8 simultaneous voices (Trigger mode).
Tuning: 21 tuning scales, including a 16-slot custom scale builder.
String materials: 7.
Modulation: 1 drawable lane, 17 destinations, free or tempo-synced.
Sample rates: 44.1 kHz to 192 kHz.
Factory presets: 48.
Factory samples: 23 (installed on first use).
Sample import: WAV, AIFF, FLAC.

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Reverie.1.0.0  ( 96 MB )

69 MB

The Cymatics.fm NC-73 is a vintage-style equalizer VST plugin made by Cymatics.fm that emulates the classic Neve 1073 analog console sound, combining retro hardware character with modern digital controls.

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Cymatics.NV73.1.1.0  ( 69 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 )

177 MB

Roland JV-880 Emulator. Emulator of a famous 1U rack unit rompler made by Roland in 1992, as a VST3 and AU plugin. Based on NukeYKT’s SC55.

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VirtualJV.1.0.1  ( 177 MB )