311 MB

Natural Vocal Tuning Plugin Powered by AI Resynthesis.

Instead of only warping the original waveform, PitchNet uses AI resynthesis to rebuild tuned vocals with smoother transitions and a more natural tone.

PitchNet detects vocal pitch and displays editable note regions, making intonation and melody changes clear without digging through raw waveforms.

ARA integration in compatible DAWs lets PitchNet follow your timeline, analyze audio faster and keep vocal tuning close to the arrangement.

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PitchNet.0.1.0  ( 312 MB )

9.5 MB

Halide — Granular Smear & Spectral Wash
A grain cloud that feeds its own spectral ghost — dissolve the actual sequence of grains, not just the source.

Halide runs a 256-voice granular cloud into a Paulstretch-technique spectral smear — in series, not parallel, so SMEAR doesn’t add a second layered effect, it dissolves the grain cloud’s own output into slowly evolving, phase-randomized spectral fog. Feed it anything: a chord blooms into an evolving pad, a vocal line sings alongside its own harmony, a drum loop dissolves into an ambient wash that keeps breathing long after the source stops. Everything — density, size, shape, pitch, feedback, motion — shapes the fog, because the fog is made of the cloud.

Core Signal Path
256-Voice Grain Cloud — density and size fully decoupled, a bipolar SHAPE control running rexpodec Gaussian expodec (swell, fog, or pluck character), and a single SEED macro that scales timing/pitch/pan jitter together as one “character” axis.
Serial Spectral Smear — the grain cloud’s own output feeds a from-scratch Paulstretch-style engine (phase-randomized FFT resynthesis, pitch-locked crossfades on every re-anchor) — stretch 1–100×, selectable FFT window from watery-small to choir-huge.
Musical Pitch Mode — flip PITCH into an interval/chord selector (14 entries: intervals, triads, sus4, 7ths, and a bright SHIMMER stack) and every grain randomly picks a chord tone, so the cloud sings a harmony around whatever you feed it — no key entry, the source is always the root.
Feedback Through the Whole Chain — repeats re-pass through the grain engine and the smear both, so FEEDBACK builds shimmer (PITCH +12) or murk (PITCH −12) with each pass, not just a repeating delay.
Freeze + Motion — freeze the buffer and let MOTION auto-scrub through it for infinite, hands-free evolving pads from a single held instant.
Built to Watch, Not Just Hear
A live buffer waveform display shows the write head, the TIME playhead, and every actual grain spawn as a blooming, fading ember — amber cooling to redscale over each grain’s lifetime. It’s not a generic meter; it’s a direct readout of the cloud actually happening in real time, including exactly what SMEAR is currently dissolving.

Highlights

Ducked, equal-power Mix — the fog displaces the dry signal rather than stacking on top of it, so both extremes (bit-perfect dry, full wash) stay pure.
Loudness-matched wet path — grain window energy and a slow servo both compensate automatically, so MIX behaves predictably at any SHAPE or SMEAR setting instead of getting quieter as the texture changes.
Pitch-locked spectral wraps — the smear re-anchors without the pitch clash that plain crossfading between differently-pitched material would cause.
BPM-syncable MOTION and FREEZE, for scrubbing and rhythmic texture work locked to the host tempo.
What It’s For
Ambient pads and evolving washes from static sources, granular vocal and lead harmonization, shimmer/murk feedback textures, freeze-and-scrub sound design, and any material that needs to dissolve into something that keeps moving after the input stops.

Halide is donation-ware — free to use, no strings attached. If it earns a place in your workflow, a tip is always appreciated: buymeacoffee.com/brittnell
Format: VST3 (Windows & macOS) | Current version: 1.0.1.

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Halide.1.0.1  ( 10 MB )

29 MB

TetraOP is a wavetable synth with four oscillators, FM, Unison, ring modulation and more.
My first attempt at a wavetable synthesizer, it is based of Ableton Operator and combines four wavetable oscillators with phase and ring modulation. Its built using Gin and Juce.

Overall it’s a well executed synth with good performance and SIMD across voices, it doesn’t have however wavetable editor or a great filter section or a preset browser etc, due to FM not playing well with wavetables I am not sure I’ll be adding new features either.

Features
Wavetable based synthesis
4 operators with FM and RM routing
10 predefined FM layouts
FM and RM routing matrix
16 Unison voices per operator
5 Unison modes
8 Phase distortion modes
2 Filters with 5 types and 4 modes each
Drag-and-drop modulation system
Envelopes, LFOs, Macros and other modulation sources

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TetraOP.1.0.0  ( 36 MB )

11 MB

Scintillate is a Spectral Reverb Sparkle Engine.

Sparkles are generated within the spectrum of a conventional reverb.

At different spawn and decay rates, these sparkles can sprinkle fairy dust on your instruments, turn them into a fluttering wall of sound, and even create trippy reverse effects.

Reducing the density lets only the loudest sparkles through, making for color-ful spectral gate effects.

DSP by Signalsmith | Everything else by Sweet Audio

{See video at top of page}

This is the first release by Sweet Audio, and also serves as a technical test of our in-house plugin framework before launching bigger plugins later in 2026.

Scintillate and our other plugins are written natively as CLAP plugins, and made compatible with VST3 and AU using the open-source clap-wrapper. If your DAW supports CLAP, prefer to use it to benefit from native support for parameter modulation and integration into the host’s undo/redo stack.

About Sweet Audio
It’s Sweet Audio’s declared goal to build a customer-friendly and sustainable audio plugin company:

We won’t play the sale game to manipulate you into buying our products – all of our paid plugins will have a constant and actually reasonable price. We say no to Black Friday.
We also don’t do marketing spam – if you sign up to our mailing list, you get exactly one e-mail for every plugin we launch in the future. Visit sweet-audio.net to subscribe.
Sweet Audio is founded by Marius Metzger, the developer behind CrispyTuner. At the time, CrispyTuner was a one-off project that I ultimately sold to Plugin Alliance, who now distribute it as bx_crispytuner.

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Scintillate.1.0.0  ( 11 MB )

73 MB

Cross-track groove-transfer plugin. GrooveTransfer extracts the rhythmic groove of one track — the transient envelope that makes it feel the way it does — and stamps it onto another by riding that track’s volume in time with it. The kick pumps the bass, the drums make the pad breathe, the vocal ducks its own delay. Instances pair by name over shared memory: no MIDI, no sidechain routing, no cables in your DAW.

Sidechain compression borrows another track’s energy — but it needs a bus, and it only ducks. GrooveTransfer moves the whole rhythmic envelope: put a Sender on the track whose feel you want, a Receiver on the track you want to move, pair them by name, and the receiver rides its own dynamics to the sender’s groove.

🎯 Envelope follower
A fast/slow detector pair isolates the transient groove of the source — the hits, not the hum — tuned by Sensitivity, Attack and Release.

🔗 Shared-memory pairing
Instances discover each other automatically and pair by name — across tracks, busses, even between plugin formats. The link survives project reloads.

🎚️ Ride or duck
Positive Mix makes the target move with the groove; negative Mix ducks it against the groove — classic “make room”, no compressor needed.

Under the hood it’s one honest move: an automatic volume ride. The receiver keeps 100% of its own sound — GrooveTransfer simply moves its level up and down (up to ±24 dB, as smoothly or as snappily as you set it), like a fader ridden in perfect time with the source’s hits. Not a compressor, not an LFO — the feel of one track, played by another.

The Sender’s envelope follower traces the drums’ transients (SOURCE below). That groove envelope is broadcast over shared memory, and the Receiver uses it to ride the volume of its own audio — the sustained pad (TARGET) starts pumping in time, smoothed by your Attack and Release. The pad still sounds exactly like your pad; it just moves like the drums.

🥁 Groove Envelope Transfer
A fast/slow follower pair extracts the transient envelope of the source and applies it to the target’s dynamics — the feel moves, the sound stays.

🔗 No MIDI, No Sidechain
Instances pair by name over lock-free shared memory — across tracks, busses and plugin formats. Nothing to route, nothing to configure in the DAW.

🎚️ Ride or Duck (±24 dB)
Positive Mix rides the target with the groove; negative Mix ducks it against the groove for instant “make room” — depth fully automatable.

👥 Sender · Receiver · Both
Up to 16 instances share the registry. Chain “Both” instances so a whole percussion section breathes with one common groove.

📈 Live Scope & Hints
A 1.5-second envelope scope shows exactly what you broadcast or receive, hover hints explain every control, and the peer selector warns you if the selected peer is receive-only.

🖱️ Resizable Interface
Drag the corner grip from 60% to 300% — the window keeps its aspect ratio and the size is saved with your project.

🦵 Kick → Bass
Sender on the kick, Receiver on the bass, short attack — the bass pumps in time with the kick, no sidechain compressor, no bus.

🌫️ Drums → Pad
A longer release turns a static pad into a breathing one that follows the drum groove — glue without a compressor in sight.

🎤 Vocal → Delay
Sender on the vocal, Receiver with negative Mix on the delay return — the echoes duck while the singer sings and bloom in the gaps.

🥁 One Groove, Whole Kit
Chain instances in “Both” mode across percussion layers so shakers, hats and toms all lock to the same pocket.

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GrooveTransfer.1.0.0  ( 73 MB )

11.5 MB

GrainBrain — Stereo 4-Band Multiband Granular Processor
Split it. Freeze it. Scatter it. Bleed it into the next band.
Splits your signal into independent frequency bands, then shreds each one into grains — its own LFO, spectrum view, and gate per band. The deepest knob-forest in the XNULLX family, built for players who want their hands on everything at once.

Built for texture
INDEPENDENT BAND STRIP
Split the signal across multiple bands, each with its own granular engine — sculpt highs into shimmer while keeping the low end intact.

PER-BAND LFO MODULATION
Every band carries its own modulation source, so grain density, size, and position can drift independently across the spectrum.

LIVE SPECTRUM VIEW
Watch the band split and grain activity in real time instead of guessing at crossover points.

GATING PER BAND
Keep grains from spawning on silence — each band’s gate reacts to its own signal, not the full mix.

Core Signal Path
4-Band Split — draggable bandpass filters right on the spectrum analyzer; grab a band and move it, narrow it, or disable it entirely.
8-Voice Granular Engine (per band) — grain size, scatter, pitch + pitch spread, drive/saturation, and wet/dry mix, independently on every band. Reverse and Freeze modes included.
Cross-Band Bleed — each band’s output can feed into the next (Low LoMid HiMid High, wrapping back to Low), for resonant, self-reinforcing textures that a simple per-band effect can’t produce.
Stutter Gate (per band) — a BPM-synced trapezoid envelope with attack, release, and phase offset, for rhythmic amplitude patterns that lock to the host tempo.
7-Target LFO Matrix (per band) — modulate Center, Width, Mix, Pitch, Scatter, Size, and Gate Phase simultaneously, each with its own depth and phase.
Built to Watch, Not Just Hear
The real-time spectrum analyzer isn’t decoration — band regions animate live under LFO modulation, so you can see a Center sweep or a Width pulse happening in sync with the audio. Drag directly on the analyzer to reposition a band by ear and eye.

Highlights
Ducked, equal-power Master Mix — dry and wet displace each other instead of just stacking, so blending in granular texture never gets muddy.
Global In and Out trim sit alongside Mix in the bottom bar — set levels in one place without hunting through four bands of per-band Gain knobs.
Collapsible Spectrum / Gate / LFO sections, remembered per preset, so the window stays exactly as compact or as deep as the patch needs.
Full MIDI Learn on every parameter.
What It’s For
Multiband texture design, granular pads and drones, rhythmic stutter/gate effects synced to tempo, spectral freeze composition, glitch and sound-design work, and subtle “make it feel alive” granular blending underneath a mix — GrainBrain covers the gap between a delicate texture enhancer and a full sound-design instrument.

GrainBrain is donation-ware — free to use, no strings attached. If it earns a place in your workflow, a tip is always appreciated: buymeacoffee.com/brittnell
Format: VST3 (Windows & macOS) | Current version: 1.0.1.

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GrainBrain.1.0.1  ( 11 MB )

12 MB

YS-Doubler is a stereo doubler based on a modified Haas effect for precise control of the stereo field width in a mix. This plugin solves the key problem with the classic Haas effect: instead of a static delay, it applies dynamic, alternating delays relative to the undelayed signal, synchronized to the project tempo. This alternation (left channel + delay in the right, right channel + delay in the left) achieves natural stereo widening without shifting the apparent volume to one side.

Main parameters:

*Haas* – setting the desired delay value to create a stereo effect.
*Rate BPM Tempo* – syncs the delay modulation rate to the project tempo for a rhythmically consistent effect.
*Swing Clock* – introduces a rhythmic deviation from the clear grid to give the effect a more “live”, musical character.
*Pre Delay* — a pre-delay that controls when the trigger fires: at a value of +10 ms, the trigger skips the initial transients, preventing attack distortion.
*Lookahead* – Predictive triggering (up to -10ms) allows precise positioning of processing relative to the beat and maintains signal dynamics.
*Widening* — controls the degree of expansion of the stereo field for flexible adjustment of the spatial image.
*Bass Mono* — limits the stereo effect in the low-frequency range: frequencies from 10–250 Hz remain in mono, which increases mix stability and compatibility with different playback systems.
*Swap Channels* — channel inversion for fine-tuning the balance and spatial arrangement of elements.
*Invert Phase* — flips the phase of the delayed signal by 180° to correct phase interactions and control the resulting frequency response.
*Volume* – adjusts the output signal level for precise integration of the effect into the mix.
*Smoothing* — select a smoothing algorithm for transitions, minimizing artifacts and clicks when the trigger is activated.

YS‑Doubler is suitable for working with vocals, guitars, keyboards and other instruments where you need to widen the stereo image without losing the clarity of transients and without the risk of phase problems in the low-frequency region. *Universal VST3 plugins may not be scanned by some DAWs. To solve this problem, on Windows, delete the “MacOS” folder inside the VST3 plugin. On MacOS, delete the “x86_64-win” folder inside the VST3 plugin.

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YS.Doubler.1.0.1  ( 12 MB )

43/211/144 MB

Air-G Plugins Collection is a collection of VST3 audio plugins built on the open source work of Airwindows, Chris Johnson’s ongoing project that has been releasing some of the most respected free DSP algorithms in the audio world. The collection started from a simple idea: take some of those algorithms and present them with a custom graphical interface that makes daily work more comfortable and visual. Not to replace or improve on Chris’s code, but to build on it: adding meters, displays, presets, and complementary controls that expand the possible uses without changing the underlying sound. The simplicity and lightness that characterize Airwindows are the starting point and the guide behind every design decision.

Depending on the tool, each plugin adds some combination of real-time level and gain reduction meters, interactive displays showing the actual frequency response, presets organized by instrument and use case, M/S processing, parallel compression controls, DAW tempo sync, sidechain filters, animations that reflect the state of the processing, and A/B comparison controls. All designed to make the Airwindows sound easier to explore and integrate into a real workflow.

The collection covers five areas:

Compression and dynamics: four compressors with distinct personalities — Pop! for transients and punch, Pulse for gluing buses and full mixes, Velvet for soft cohesion and spatial depth, Volt for the bus with a range that goes from transparency to envelope distortion. All four have a Mini version: same engine, compact 500-series rack module-style interface.

Clipper and de-esser: Clip combines two clipping modes in a single plugin with Delta monitoring. Dess detects sibilance by waveform shape rather than frequency targeting, with unusual precision on vocals and bright material.

Equalization: EaseQ is a four-band EQ with wide, musical Bezier curves, an interactive display, and an AIR button. Prism is a six-band graphic EQ with fixed frequencies, strong inter-band isolation, and draggable nodes.

Tape saturation and time effects: Tape is the full tape emulation, with head bump, flutter, three-band EQ, and 48 presets. Taped is the focused saturator, warmth and high-frequency compression with M/S processing. Taped Mini is its compact version. Echoes is the varispeed tape delay with DAW tempo sync and an HPF in the feedback loop. Mods brings four modulators (Chorus, AutoPan, Tremolo, Vibrato) into a single selector.

Reverb: Spaces brings together 16 reverbs from Airwindows’ k-series in a single plugin: rooms, halls, plates, chambers, and imaginary spaces, with Pre Delay and HPF always available and four memory slots for instant comparison.

Every plugin comes with a manual in both Spanish and English, written in musical language without technical jargon.

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Air-G.Plugins.1.0.0.WIN  ( 43 MB )

Air-G.Plugins.1.0.0.MAC  ( 211 MB )

Air-G.Plugins.1.0.0.LINUX  ( 145 MB )

325 MB

Evil Otto is our free take on the OTT-style multiband compressor: aggressive upward-and-downward compression that squashes a sound into place and makes everything feel louder, denser, and a little unhinged. Three bands, independent thresholds, gain-reduction metering, and a sidechain input. Drop it on a bus, a synth, a drum loop, or a whole mix and lean on it as hard as you like.

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Evil.Otto.1.0.0  ( 326 MB )

44.20 MB

Drum Processing Plugin
Every preset has been meticulously handcrafted through hours of precision analysis, critical listening,
and fine tuning. Each frequency point has been individually optimized to deliver exceptional punch, clarity,
depth, and authentic analog character.

Frequency Control
Dedicated Low Cut and High Cut filters, operating from 10 Hz to 20 kHz, provide precise tonal
shaping and complete frequency control for every drum element.

Air Control
Shape the entire drum bus instantly with a smooth ±12 dB spectral tilt, allowing brighter highs
or warmer lows while maintaining a natural and musical balance.

Analog Saturation
Inspired by legendary Class-A analog preamps, Drums God generates rich harmonics, warmth,
density, depth, and musical punch through advanced analog circuit and transformer modeling.

Oversampling
2x — Optimized for everyday production with low CPU usage.
4x — Recommended for critical mixing sessions.
8x — Maximum processing accuracy with ultra-low aliasing for professional production environments.

Note: You must register on the website to use the plugin, and you can log in to the plugin using those details.

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Drums.God.1.0.0  ( 44 MB )