Lord of the Springs

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Lord of the Springs features 128 voices in form of constantly active spring systems, which a key hit stimulates as well as modwheel scrubbing.
As one might imagine, springs will generally create rather metallic sounds, which makes it ideal for complex glockenspiel sounds, xylophones, marimbas and so on, but the freedom granted by the features allows for a much greater variety of sounds from soft, dreamy pads to harsh percussion and other percussive sounds.

Beware, though, because it truly is procedural sound creation, potentially creating spikes when you line up the spring frequencies. I advice the use of a limiter to avoid possible heart-attacks or damage to equipment.
It also features a unique pitchbend implementation that allows only held down keys to be pitched, while sustained keys (via sustain pedal) won’t be affected by it. Once a key is released, a pitch relax value controls how quickly it will return to the original pitch of the key. Once the bend key is struck again without any pitch bending, it will be tuned back to normal instantly.
The probably most outlandish feature is the BODY or ONE SPRING TO RULE THEM ALL, which is kind of why it is called Lord of the Springs. This one spring sits underneath all springs and stimulates all of them by what ever sound they produce. It creates an almost plate reverb like effect, which can be modified in a variety of ways, including its own tuning, decay, diffusion and sharpness. On top of that it has its own phaser effect with a tremolo that can go stereo and can have its rate synced not just to BPM but to actual song position for a perfect lineup with a beat, if so desired.
Subtle use of the phaser can create compelling room impressions as well, which is the original reason for why I implemented it to begin with. The BODY also features a blendable SOLO mode, again increasing the amount of sound creation possibilities somewhat substantially, though, mostly in the realm of special effects.