80 MB

Turn a single note into a living soundscape. Voyage Voyage is a freeware Shimmer Reverb built around an analog BBD chip delay emulation – ethereal pitch-shifted tails meet dark, grainy analog repeats that slowly dissolve into the mix. Push it further and it becomes an instrument of its own: an infinite drone and texture generator for ambient beds, cinematic tension and evolving sound design, using its self-oscillation and resonator capabilities.

A Shimmer Reverb and a Drone Machine, designed for the KVR Developer Challenge 2026, available for Windows, macOS and Linux with VST3/AU/CLAP formats.

Main features:

classic decay, tone, mix, input, output, low cut and high cut controls, as expected in a reverb plug-in.
Shimmer amount & pitch control, with an additional delay time control featuring the BBD chip emulation.
innovative Exciter & Chaos parameters, useful when Voyage Voyage is in self-oscillation / resonator / generation mode
more than 50 presets in 6 categories: delay, reverb, spacecraft, submarine, textures, and miscellaneous.
as usual with Musical Entropy products, resizing capabilities, integrated help, extra accessibility functionalities, embedded tutorial, mix lock control, easter eggs etc.

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VV.1.0.1  ( 81 MB )

10 MB

an ambient, spatial reverb — built on two layers, not one
A wide, continuous stereo wash — the sky — paints long, open tails with movement in them. Over it, a set of small binaural events — the stars — sit at real directions around your head. As you play, the stars answer your notes and flash exactly where you hear them; a spark on the right really is on your right. They can reply at once or hold back, free or locked to the host tempo, so the answers fall into the gaps between your phrases.

Two-layer engine — a dense stereo sky plus binaural 3D stars, decoupled from the tail
Stars that react to your playing, with a tempo-synced or free response delay
Eight factory presets, each a distinct space — Overcast, Clear, Sky Opening, Cirrus, Aurora, Storm, Vocal Sky, Cinematic Overcast
A/B compare, your own saved presets and favorites, and a freely resizable window
Headphones mode for full binaural placement; speaker mode for a wide, mono-safe fold
macOS VST3 & Audio Unit, Windows VST3 — free, with no time limit

Features
Two-layer engine: a dense stereo reverb bed plus binaural 3D events (KEMAR HRTF), decoupled from the tail.
Stars that react to your playing and answer at the exact direction you hear them.
Tempo-synced or free response delay, from instant to three seconds or 1–8 quarter notes.
Nine controls in three groups (SKY / STARS / OUT), each mapped to one audible result.
Eight factory presets, each a distinct space: Overcast, Clear, Sky Opening, Cirrus, Aurora, Storm, Vocal Sky, Cinematic Overcast.
Live “sky view” that shows the sound honestly, and slim output metering in the header.
Headphones mode for full binaural placement; speaker mode for a wide, mono-safe fold.
A/B compare to hold two settings side by side and copy one onto the other.
Save your own presets and mark favorites for quick recall.
Resizable interface — scale the window to your screen.
Mix lock to keep your wet level steady across presets.
Illustrated user manual included, reachable from the plugin’s menu.
MacOS 12+ universal (Intel + Apple Silicon); Windows 10/11 64-bit (also runs on Windows-on-ARM inside x64 hosts). Linux on the roadmap; usable now via yabridge.
Free, for any music or audio work, commercial or not, with no time limit.

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SkyVerb.1.0.22  ( 10 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 )

17.5 MB

Ambience is a high-quality, open-source algorithmic reverb VST3 plugin built on a 16-channel Feedback Delay Network (FDN) architecture. Designed with professional audio standards in mind, it delivers rich, natural-sounding reverberation ranging from intimate studio rooms to vast concert halls and beyond — with the precision and stability demanded by real-world production environments.

Schroeder, Moorer, Jot — for sixty years, the foundations of commercial reverb have barely moved. The differences are presets and UI.

Ambience reimplements that foundation from primary academic sources — FWHT feedback matrices, nearest-prime delay allocation, Välimäki-Liski 10-band GEQ, ISM-based early reflections. Research-paper DSP, end to end.

A Fast Walsh-Hadamard Transform forms the feedback matrix, delivering dense, colorless diffusion. The 16 delay lines are tuned to mutually coprime primes on a logarithmic scale, eliminating comb-filter artifacts at any room size.

ROOM1 / ROOM2 / HALL1 / HALL2 / PLATE / SPRING / GOLDFOIL — each algorithm uses a distinct topological routing, Allpass gain structure, and early-reflection pattern. Seven completely different reverb characters.

Each FDN channel hosts a 10-band biquad GEQ cascade. The plugin solves a Weighted Least Squares system in real time to follow target RT60 curves with surgical accuracy across the full audible band.

Early reflections are generated via the Image Source Method, tuned per algorithm for perceptually accurate pre-echo with full stereo imaging control.

Each of the 16 FDN channels is modulated by an independent bandlimited-noise LFO, initialized via a Golden-Ratio Weyl sequence to guarantee mutually asynchronous, non-periodic motion.

Anti-Derivative Anti-Aliasing in four flavors — Warm (Vicanek), Tape (Padé rational), Tube (asymmetric ADAA), Hard (ADAA clip). Texture without aliasing artifacts.

One PRO button unlocks per-band RT60 multipliers from 31 Hz to 16 kHz, Low / Mid / High Tilt EQ, and saturation type selection.
The live RT60 graph overlays the effective curve (orange — including HF Damping & LF Absorption) on top of the preset reference (gray). Mix by looking, not just by listening.

Every world-class hall, studio, plate and spring you’d wish for — modeled and included. No DLC. No upgrades.

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Ambience.1.0.1  ( 17 MB )

4.50 MB

Authentic 80s rack-style digital reverb. 100% wet output with vintage 12-bit character and Schroeder-style diffusion.

100% Wet Reverb
Pure reverb signal output – no dry signal in the mix. Perfect for:
– Parallel processing with dry signal in your DAW
– Creative sound design
– Authentic vintage rack reverb simulation

80s Rack-Style Character
– 24 kHz Internal Sample Rate – Authentic vintage digital reverb with band-limited frequency response
– 12-bit Quantization – Classic gritty digital character
– TPDF Dither – Smooth quantization
– Stereo Crosstalk – Authentic L/R channel bleed simulating analog circuitry
– Early Reflections – Program-dependent multitapped delay lines for realistic room ambience
– HF Damping – Mode-dependent high-frequency rolloff

Schroeder-Style Algorithm
Parallel comb filters with damping followed by series allpass diffusion.

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WetReverb-v1.0.1  ( 4 MB )

39.4 MB

Alesis Midiverb II and Microverb I emulators. The studio workhorse that defined affordable digital effects × 2 and The bedroom producer’s secret weapon.

There are two types of producers: those who think this reverb sounds “too colored,” and those who refuse to mix a track without it. We meticulously recreated this cult-classic unit because sometimes, perfection is boring. You use it when you want your synth to float in space, your guitars to smear into a lush nostalgic wash, and your mix to have a sound that’s unmistakably its own.

Seven Categories of Classic Effects
All 100 factory programs are included, organized into seven categories that cover every effect type the original hardware offered.

Dual DASP-16 Engine
The MDV-II goes beyond the original hardware with two mathematically modeled DASP-16 chips running in series. Unit A feeds into Unit B, so you can stack a reverse reverb into a chorus, run a gated verb into a delay, or chain any two of the 100 programs together. Each unit has independent program selection, mix, and bypass controls.

Pan-Spread Stereo
Each unit has its own pan control. With both pans centered, the signal runs as a pure series chain — you hear the combined result of A into B. Spread the pans apart and the two stages separate in the stereo field, letting you place each effect independently. It’s a smooth crossfade from stacked mono to wide stereo.

Faithful DASP-16 Emulation
The heart of the MidiVerb II is the custom DASP-16 (Digital Audio Signal Processor) chip designed by Keith Barr. The MDV-II faithfully recreates this chip, reproducing the signal flow of all 100 factory programs at the original 31,250 Hz internal sample rate. Every program produces the same output as the original hardware — including its characteristic warmth and bandwidth-limited charm.

Vintage Mode
Toggle vintage mode with the fuse icon in the toolbar to drop the internal engine from 44.1 kHz down to the original hardware’s native 31,250 Hz sample rate. This lowers the Nyquist ceiling to ~15.6 kHz and stretches reverb tails and delay times to match the original unit, reproducing its characteristic darker, softer tone.

Intuitive Controls
Input Level, Mix, Pan, and Output Level knobs give you precise control over signal flow. A/B buttons switch between the two engines, each with its own program, mix, and pan settings. A per-unit bypass button lets you disable either engine independently. The two-digit numeric keypad, arrow buttons, and drag-to-scroll LED display make program selection fast and familiar. All parameters are fully automatable in your DAW.

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MDV-II.0.5.4  ( 39 MB )

4.92 MB

Springer is an algorithmic stereo spring reverb inspired by physical spring tanks but is a very crude model, built from dual interacting spring lines with dispersion, damping, feedback, and modulation. It’s designed to go from dub-style springyness to phasing laser sounds.

Please note that with all 7 coils and 256 dispersion stages active, this plugin can be quite CPU-intensive (around 15% of CPU usage on my mid-tier machine). I recommend using 2 coils and about 200 stages as the amount of coils beyond 2 most often does not make a huge difference.

Here is a quick overview of the plugins controls:

Version 1.2 adds up to 7 coils and expanded delay controls for all of them.

Version 1.1 adds a Pitch Slider to make the coils “thicker” and the sound deeper. Both versions are included in the download.

Dispersion Stages: How many smear blocks are in the spring. More = thicker, more high-frequency goodness.

Width / Time: How long the spring is. Bigger number = longer delay and tail.

Resonance: How much the spring feeds back. More = more ringing and possible self-oscillation (be careful for values >1).

Coupling: How much spring 1 and spring 2 feed into each other. More = weirder stereo behavior.

Damping: High-frequency loss in the spring. More = darker and less splashy.

Wet Only: Outputs only the spring, no dry signal.

Random Allpass: Randomizes the internal allpass values. Changes the spring character.

Mod Rate: How fast the spring delay moves. Slow = gentle wobble, fast = pitch wobble.

Mod Depth: How far the spring delay moves. More = more unstable sound.

Wet Gain: How loud the reverb is.

Delay 1 / 2: Density delays for spring 1 and spring 2. Changes how busy and smeared the spring sounds.

Install the windows vst (the provided .vst3 folder) in C / Programs / Common Files / VST3.

The source code was mostly made with AIs, so its open source. Use it however you like!

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Springer Spring Reverb VST  ( 19 MB )

32 MB

Twice The Reverb

Plateau 2 is a powerful plate reverb featuring two reverb instances called tanks which can interact with sends between tanks to create rich highly customizable and spatious reverb effects. Learn more about the features it has to offer by watching the trailer or reading:

A standalone version of the open source VCV Rack module Plateau by Valley Audio.
“Plateau is a plate reverb module based on the famous, Dattorro (1997) design, and is designed to make a dry, lifeless patch sound lush, deep and spacious. However, unlike other reverberators, Plateau attempts to go beyond, providing a wide variety of control combinations and options.”
Available as 64-Bit Windows VST3 and mac VST3+AU

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Plateau2  ( 32 MB )

244 MB

Compact reverb plugin powered by the same proprietary reverb engine as its bigger brother, EXOVERB. Choose from 8 expertly crafted acoustic scenes for a truly authentic sound in modern audio production.

Features:
Compact EXOVERB stereo reverb plugin with 8 selected acoustic scenes
Powered by EXOVERB’s reverb engine with synthesized multi-IRs
Intuitive triangle pad and total control adjusting the acoustic scene

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Exoverb MICRO v1.3  ( 233 MB )

61/130 MB

BiRR2D and BiRR3D are room simulators that accurately emulate the sound produced by a monophonic and omnidirectionnal source perceived by a listener in a rectangular (2D) or parallelepipedic (3D) room.

User can control (x, y, z) dimensions of the room, and position of source and listener in the room. The orientation of the listener can also be adjusted. Wall properties are adjusted with two or three parameters:

Wall absorbtion : a coefficient between 0 an 1, representing a reflection coefficient. The acoustic wave amplitude is multiplied by this coefficient at each wall rebound. Higher values produce a shorter reverb.

Wall high frequency absobtion : this parameter controls the high frequency absorbtion wall rebounds. Higher values produce darker reverb sound.

Wall diffusion : this parameter controls the wall diffusion properties (parameter only available in the ambisonic version, otherwise fixed to 1e-3, but this is subject to change)

The input is mono or stereo, depending on the chosen version (mono in or stereo in). The output sound is a stereo reverberberated sound with one of the following configurations:

Two cardioid microphones in XY configuration

One cardioid and one eight-pattern microphones, in MS configuration

One omni and one eight-pattern microphone, in MS configuration

Binaural receptor based on the HRTF provided by MIT medialab (https://sound.media.mit.edu/resources/KEMAR.html), and equalized to sound as neutral as possible compared to the dry original sound.

Ambisonic output (for the ambisonic version)

The 2D version simulates a 2D rectangular flat domain. Consequently, the produced binaural sound doesn’t consider height information for sources and listener. The 3D version simmulates a parallelepipedic room, height position of the sources and listener. The latter hence involves more cpu computations for the impulse responses calculations.

Direct path and reflections paths
when a parameter is changed, two stereo impluse responses are calculted and sent to convolution processors:

The direct path impluse response.

The impulse response due to multiple reflections on walls.

The effect level of direct path and reflections can be adjusted separately. These can be sought as dry and wet parameters of the reverb, although the produced sound is physically acurate when both parameters are equal.

Stereo width
In the XY configuration, this parameter specifies the angle between the two cardioid microphones. At its minimum the angle is zero and the produced sound is mono. At its maximum value, the angle equals 180 degrees, the microphones being perpendicular to the head axis. In the standard XY configuration, the angle equals 90 degrees, which occurs when the width parameter equals 0.5.

In the MS configurations the stereo with quantifies the amplitude of the figure eight microphone signal (between 0 and 1).

The stereo width parameter has no effect in the binaural configuration.

There is no such parameter in the ambisonic version

Parameters updating
At each parameter update (except reverb levels and head orientation in the ambisonic version), the impulse response is calculated. As each acoustic path has to be calculated, the computation time can be high, in particular if the damping is small.

A number of threads equal to the number of CPUs – 1 is employed for the impulse response calculation, which allows reasonable computation times (At most a few seconds for largest reverberation times on recent CPUs).

Important note: the fact that some calculation time is necessary after each parameter change prevents parameter automation, as they cannot be updated in real time. Consequently, this plugin cannot be used to move sounds in the virtual space.

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BiRR 0.0.5-WiN  ( 61 MB )

BiRR 0.0.5-Linux  ( 130 MB )