That struggle to get authentic, warm vintage tones without killing your CPU is real. INVADER Lite fixes that immediately by packing raw, analog-inspired heat into an arcade-style layout that is straight fire to produce with.

Why INVADER Lite is a Game-Changer for Your Mix & Workflow

• Instant Vintage Character – Inject rich analog warmth straight into your session without needing chains of tape emulators and saturators.
• Punchy Basses That Anchor the Low End – Dial in heavy low-end patches that hold down the root notes while leaving plenty of clean space for your kicks to punch through.
• Lush, Wide Pads – Create cinematic depth and silky stereo width that instantly wraps around your vocals and drums.
• Mix-Cutting Leads & Plucks – Cut through dense arrangements with bright, laser-sharp retro leads that never sound harsh or brittle in the high end.
• Intuitive Sound-Sculpting Macros – Tweak tone, filter movement, and space in seconds so you spend more time laying down chords and less time digging through sub-menus.
• Interactive Retro Game UI – Fuel your inspiration with an arcade cabinet display that responds dynamically as you play keys.

Tech Specs (Keep it Light)

• Platforms: macOS & Windows compatible
• File Size: 2.51 GB sample engine library
• Sound Palette: Basses, leads, pads, keys, plucks, and vintage textures
• Interface: Dynamic retro arcade HUD with dedicated macro controls

The Verdict

If your melodies have been sounding sterile lately, this synth is an absolute must-grab. INVADER Lite brings that late-night arcade nostalgia right into your DAW, delivering tones that slap hard across synthwave, trap, R&B, and lofi. It captures the soul of classic analog gear while keeping your workflow fast, modern, and effortless.

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Download  ( 2.5 GB )

19/97 MB

Delta6 is a 6-operator FM synthesizer built around a fully open modulation matrix.
Instead of forcing you to choose from a fixed list of algorithms, Delta6 lets you freely route operators and visually see how modulation flows through your patch.

Features:
Route operators freely through the modulation matrix, letting you create any FM structure and experiment with your own signal paths.
Build complex sounds with 6 FM operators, each with its own tuning, level, waveform, and ADSR envelope.
Go beyond traditional FM with five operator waveforms: Sine, Triangle, Saw, Square, and Noise.
Push Operator 6 further with its feedback control.
Add subtle analog-style pitch variations with Drift, allowing for a warmer and more organic sound.
Give your sounds space with the built-in Reverb, with adjustable reverb size and mix.
Add width and character with the built-in Chorus effect, inspired by classic hardware chorus circuits.
Use velocity sensitivity to make your patches respond dynamically to how hard you play.
Play up to 16 voices of polyphony, or switch to Monophonic mode with Legato for expressive basses and leads.
Use the dice button to instantly generate random presets.
Use the preset browser to quickly find new sounds, or save and load your own custom presets!

Windows
Operating System Windows 10 or higher
Architecture 64-bit (x64)
Formats VST3, Standalone
macOS
Operating System macOS 11.0 (Big Sur) or higher
Processor Apple Silicon & Intel
Formats VST3, AU, Standalone

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Delta6-Windows  ( 19 MB )

Delta6-Mac  ( 98 MB )

2.51 GB

INVADER Lite: A Retro Synthesizer Engine Built for Modern Music

A Retro Analog Instrument Playground For Modern Production
INVADER was designed to capture the excitement of walking into a retro arcade, bright lights, pixel graphics, glowing cabinets, and unforgettable sounds.

Behind the nostalgic visuals is a powerful synthesizer loaded with expressive analog-inspired instruments that fit effortlessly into today’s productions.

From lush pads and dreamy keys to punchy basses, soaring leads, vintage plucks, and atmospheric textures, INVADER delivers timeless sounds with a creative workflow that’s impossible to put down.

Press Start On Your Next Idea
Choose a Game Mode and watch the display respond in real time as you perform, creating an experience that’s as fun to play as it is to listen to.

Fine-tune every sound using intuitive macro controls that make sculpting warm analog tones fast, musical, and addictive.

Explore a massive collection of analog-inspired presets, then twist the macro controls to transform them into basses that punch harder, pads that feel wider, leads that cut through the mix, and textures full of vintage character.

The result is an instrument that’s just as entertaining to play as it is powerful to produce with.

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Download  ( 2.5 GB )

208/211/207 MB

Altitude is a modern musical instrument that combines subtractive, sampling and FM synthesis, enabling you to produce a wide variety of complex sounds. Booming basses, provocative pads, effervescent effects, sonorous sequences: whatever your mix needs, it’ll only be a few clicks away.

Ready for work.
Altitude is a modern musical instrument that combines subtractive, sampling and FM synthesis, enabling you to produce a wide variety of complex sounds. Booming basses, provocative pads, effervescent effects, sonorous sequences: whatever your mix needs, it’ll only be a few clicks away.
The clear user interface serves as your guide through your auditory adventures. With its straightforward layout, exploring the deepest depths of the audio engine’s facilities is just as effortless as making your first patch. The design is alive with visual aids and reactive displays that make it a cinch to work on intricate patches.

Unlock your creativity.
Altitude is bundled with a large factory ROM, full of instantly usable samples that are perfect for layering. Fine tuning your patches’ timbre has never been easier. And with a carefully curated selection of over 300 built-in patches to demonstrate every corner of the audio engine’s potential, you’ll never be stuck for ideas again.
A few clicks in the patch browser here, and a quick browse of the sample picker there; Altitude makes the sound design process feel natural.

Altitude sports two 24-step sequencers both with builtin arpeggiators. The sequencers can be routed to different generators. Each sequencer has 5 tracks, one for each property of the steps. Every track has a customisable length, creating new combinations of parameters each time the tracks loop.
You can randomize individual tracks in the sequencer for endless inspiration. And you can keep the pitch track locked to a specific scale for more predictable results.

It all starts here.
Every instance of Altitude has 4 luscious virtual analog oscillators and 4 retro-inspired sample layers.
All the generators have numerous FM routing options, as well as a selection of unison modes: Super, Hyper and Modern.
And with the keyboard mapping features, you can configure exactly how the generators are assigned to incoming notes.

Shape, sculpt and scream!
The two included filters can run in a wide range of modes and algorithms. Perhaps you’d like a classic transistor ladder filter, or maybe you’d prefer the highly resonant Sour algorithm. Altitude’s got you covered.
The filters can be routed in any number of ways. Serial, parallel, split, inverted, or even something inbetween.

Altitude’s carefully designed user interface is full of polish and attention to detail. Many parameters have preview displays that show up as you modify the controls, and then automatically hide to reduce clutter. Hovering over a modulated parameter highlights the sources that are assigned to it. And there’s many more workflow-enhancing features just like these to discover.
Four interface skins are included with Altitude, and you’re able to load in custom skins if you want to completely adapt the plugin to match your creative space. The built-in skins scale from 100% to 300%, filling even the largest of monitors all while staying pixel perfect.
And with ultra-fast load times, the interface is always ready to channel your imagination.

17 high-quality effects.
Altitude comes loaded with 17 effect unit types, ranging from traditional favourites like the Phaser and Reverb, to the more extreme, such as the Bitcrusher and Two-Tap Delay.
You can place up to 3 units of each type in the 8 effect slots in any order you like.
The 8 effect slots are grouped into two chains of 4. The chains can be routed either serially or in parallel, allowing for a wide variety of creative options.

Altitude is packed with modulation options. There are 5 envelopes, 4 math modulators, 2 step modulators, 4 LFOs, in addition to a matrix with 21 slots.
The workflow of assigning and tweaking routings is quick and full of visual feedback. To make an assignment, simply click on the modulation slot and then the parameter to modulate. You can then adjust the modulation amount. In the LFOs, you can also switch between unipolar and bipolar routing using the adjacent toggle box.
Highly tuned performance.
Altitude is one of those plugins that you don’t need to feel guilty about when adding instances into a project.
It automatically detects the features on your CPU and selects the most optimal code, to ensure the best performance.
With native support for Intel processors over a decade old all the way up to the latest Apple Silicon processors, Altitude is happy to adapt to whatever you throw at it.

The latest technology.
Altitude leads the way to the future of audio plugins, built from the ground up for the new plugin format CLAP.
CLAP is based on an extensible architecture. If both your host and the plugin support a given extension, you’ll get access to its advanced features.
Altitude already supports many extensions, such as polyphonic modulation, preset discovery, parameter indication, remote controls and more.

Absolutely no copy protection.
Once you’ve bought a copy of Altitude, you can install it on as many computers you want. You’ll never need to connect it to the internet, and you’ll never need to worry about license keys.
It just works, straight out of the box, forever.
Product specifications:
4 virtual analog oscillators
4 sample layers
3 unison algorithms
15 FM sources
2 filters with 15 algorithms
5 envelopes (1 ADSR and 4 DAHDSRs)
2 step modulators
4 math modulators
4 LFOs
21 slot modulation matrix
4 macro dials (2 XY pads)
17 effect unit types
4 reverb algorithms
8 distortion algorithms
8 effect unit slots
3 effect chain routing modes
2 24-step sequencers and arpeggiators
39 modulation sources
510 modulation destinations (251 polyphonic)
265 MB of sample data
335 factory patches
4 factory skins, and custom skin template
MTS-ESP tuning support

System requirements.
5 GB of available drive space (exact size depends on the number of installed formats)
1 GB of RAM
64-bit Intel, AMD or Apple Silicon processor
Supported operating systems: Windows 7 64-bit or newer; macOS 10.14-13; X11/Linux with glibc 2.22 or newer
Supported host software: CLAP; Audio Unit (macOS); FL Studio native
For the standalone format: MIDI input and audio output devices

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Altitude.1.6.9.WIN  ( 232 MB )

Altitude.1.6.8.MAC  ( 236 MB )

Altitude.1.6.8.LINUX  ( 232 MB )

26 MB

A Windows/cross-platform VST3 + Standalone + Android 15 Port synthesizer plugin that wraps the bit-accurate VDX7 Yamaha DX7 emulation (real DX7 firmware ROM running on an emulated HD6303 CPU + emulated OPS/EGS sound chips) behind an original, Dexed-inspired editor GUI built in JUCE.

The DX7 firmware ROM and the factory voice ROMs ship inside the project as the raw binaries in Firmware/ (dx7.bin, voices.bin, example.ram), embedded into the plugin at build time. You do not need to supply any ROM yourself.

What it does
REAL SOUND: MIDI in → authentic DX7 FM audio out, generated by the emulated firmware and chips (not a DSP re-implementation).
REAL LIMITATIONS: The original sound engine only supports the keyboard range of the original hardware, and tweaking knobs while sound plays is not supported.
Original 6-operator editor: every voice parameter (per-operator envelopes, frequency, keyboard scaling, plus global algorithm / feedback / LFO / pitch envelope) is editable with rotary controls.
Live emulated LCD and voice-number LED read straight from the running firmware.
Factory ROM browser (ROM1A … ROM4B, 256 voices) plus an INIT voice.
FILE menu (SysEx import/export):
Import bank – load any standard 32-voice .syx bank (4104-byte bulk dump); its 32 voices appear as a USER bank in the browser.
Export current voice – save the current (edited) voice as a 163-byte single-voice .syx.
Export bank – save the current bank as a 4104-byte 32-voice .syx, with the current edited voice written into its slot.
Live edits / automation: turning a knob sends a lightweight DX7 parameter-change SysEx (the firmware boots with SYS INFO AVAIL enabled), so every new note instantly reflects the current knob/automation values with no patch-reselect glitch. Note: like real DX7 hardware, editing a parameter sends any currently-held note into its release – a single sustained note will not morph in place, but automating across a playing sequence is smooth.
Accessibility: every knob has a full descriptive title (e.g. “OP3 EG Rate 1 (attack)”) exposed to screen readers and shown as a tooltip, is keyboard-focusable and arrow-key manipulatable, and its whole tile is grabbable.
Patches are saved with the host session.

Changes to the Android Version over the VST3 version
The .vst3 version does not contain the FX section the android version includes. This is because I wanted the VST3 version to be a faithful port of the original (V)DX7 project, as the original did not have any effects either from what I know.

The Android version has an FX button in the top left, which switches to the FX viewer with Chorus, Delay, Phaser and Reverb Effects. These are direct copies of the modules from my synth Aquanode Modular. I added these as I thought the DX7 can sound rather dry without any effects, and you can’t easily add FX like you can in your Windows DAW for example.
You can add these effects on windows when you load my Aquanode Modular FX on a mixer track in your DAW.

This project is not affiliated with or endorsed by Yamaha. “DX7” is a trademark of Yamaha Corporation and is used here only descriptively.

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VirtualDX7  ( 26 MB )

9.15 MB

HTML-based instrument for extreme time stretching. LOOM is a browser instrument that stretches a sound in time to build textures, pads and drones. It can make a short sample last for minutes without changing its pitch. It runs as a single HTML file, works offline, and needs no installation.

How to use it
1. Load a sample. Click + sample. WAV, AIFF / AIF, MP3 and FLAC are supported.
2. Choose a region (optional). Drag on the source waveform to select part of the sound. This is useful, because a very large stretch of a long file produces very long output. Click once to set a start point; double-click to clear the selection.
3. Listen first. Press Audition to hear the whole sample, or only the selected region.
4. Set the controls (see below) and press Render. The work runs in the background with a progress bar, and you can Cancel.
5. Play and check. Press Play. You can click anywhere on the rendered waveform to start playback from that point — useful when you want to hear only the end of a long texture.
6. Export. Choose WAV or AIFF, choose the bit depth, and press Download.

The controls
– Stretch — how much longer the sound becomes (time only). The slider goes very far; the number box accepts even larger values.
– Pitch — transposition in semitones, fully separate from stretch. The range is very wide, several octaves up or down.
– Weave — how many grains overlap at each moment (1 to 16). Low values sound rough and pulsing, and broken at 1. Higher values sound smooth and glassy. The strongest change is between 1 and 4.
– Scatter — how much the phase is invented (0 to 100%). At 0 the real phase is kept, so the stretch stays coherent and attacks survive. At 100% it is the full texture effect.
– Drift — the reading position wanders. Each grain reads from a slightly different, moving point in the sample. At 0 it is off. Higher values make the texture breathe and change over time, and make the higher Weave values meaningful.
– Reverb and Size — an internal reverb (amount and decay length) added after the stretch.
– Gain — output level.
– Normalize — brings the level up to a safe maximum.
– Mono → stereo — from a mono sample, builds a wide stereo texture using two independent phase passes.
– Reverse — plays the stretched sound backwards.

Stretch, pitch, weave, scatter and drift are part of the engine, so a change needs a new Render. Reverb, size, gain, normalize and reverse are applied afterwards, so you hear them at once.

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LOOM  ( 9 MB )

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.

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Aquanode.Phizmo  ( 123 MB )

63 MB

Identity is a polyphonic synthesizer built around two formula oscillators — programmable oscillators where you write the waveform as a math expression. It includes a sub oscillator, noise generator, two multi-mode filters with envelopes, four MSEG-based LFOs, three modulation envelopes, a flexible modulation matrix, an arpeggiator, eleven reorderable effects, four macro knobs, per-voice vibrato and analog drift. Supports MPE.

Features
Two formula oscillators — write waveforms as math expressions, with built-in waveform and filter functions
Sub oscillator and white/pink noise generator
Two multi-mode filters with envelopes (LP / HP / BP / Notch, 12 & 24 dB/oct)
Four MSEG-based LFOs with poly, mono, legato, and free trigger modes
Three modulation envelopes
Flexible modulation matrix with curve shapes and bipolar / unipolar modes
Eleven reorderable effects (gate, chorus, distortion, delay, reverb, EQ, filter, and more)
Built-in arpeggiator
Four assignable macro knobs
Per-voice vibrato and analog drift
MPE support

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Identity.1.0.9  ( 124 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 )

42 MB

The virtual version of this historic Italian synthesizer, created by myself and Marco Molendi, can be downloaded for free.
CRB URANUS 1: for those who saw it and for those who weren’t there
After years and years of video collaboration with the SM Strumenti Musicali YouTube channel, where I dedicated myself to other people’s projects, finally – and with great pride – I present to you a project that sees me as the protagonist in collaboration with a great technician and a very dear friend like Marco Molendi .

This project had been in the air with Marco for some time: it was the emulation of an Italian synthesizer that – as the title of the chapter suggests – few have seen and probably some have only heard of. In SM Strumenti Musicali columns such as Arranger Legacy and Synth Legend , we have often mentioned a long-defunct Italian brand like CRB Elettronica of Ancona , founded in 1948 by Duilio Borsini . The writer had the opportunity to work at CRB in his youth in the mid-1970s, doing the so-called apprenticeship. Like many companies in the Marche region of that period, CRB also mainly built electronic organs , but the company’s research and development laboratories also studied new and ambitious projects aimed at attracting musicians and dealers. Among these projects was the rather “courageous” one for a synthesizer, which at the time was gaining new enthusiasts, thanks to creations arriving from overseas such as those by Moog and ARP.

Today, with modern technology, discussing the idea of ​​building a synth is no longer scary , but believe me, in the mid-seventies, just talking about a project like that made industry insiders turn up their noses . CRB ” got off to a flying start ” with a project that – nowadays – we would define as the fruit of a courageous “vision”. The CRB URANUS 1 was a “Monster” instrument in every respect, both in terms of features and overall dimensions. An instrument born to generate a “Wow!” effect in the enthusiast. Anyone who has read the two books co-written with my friend Riccardo Gerbi ( Volume 1 and Volume 2 ) will have seen the photos where I played it at trade shows and demonstrations of the time. Here I offer you a few nuggets of history and some characteristics of the URANUS 1.

But what are we talking about?
It was the first and only polytimbral (and therefore polyphonic) synth of its time made by an Italian company. Eight oscillators (divided into two pairs split across the keyboard) with a panel full of sliders and buttons for controlling and programming the various sections! An instrument that left an indelible mark on the writer’s memories, until the day my friend Marco Molendi and I decided to create it, to the delight of those who saw it and those who weren’t there.

The Genesis
The CRB Uranus 1 was the forefather of projects that later followed in the Italian company, namely the URANUS 2 , the Oberon and finally the Vega , a mammoth synthesizer that was never released (also due to its cumbersome size and weight). Only five URANUS 1 units were built , of which one remained in the company and four were distributed for demonstrations in Italy and around the world, but which never returned to CRB, due to the subsequent closure of the company for commercial reasons well described in my books.

Reconstructing a memory
I spent hours on the URANUS 1 at the company, preparing various demonstrations for trade shows and events. My experience with that model fueled curiosity , study, and memories. Memories I’ve pursued for years, based on the sonic and technological experiences I’ve experienced throughout my career in this industry. Starting from these very memories, Marco Molendi and I challenged each other with a thousand and one questions: What was it made of ? How did it sound? What was its musical logic?

Marco and I began researching the technical possibilities to make this dream come true, but he, a truly great musician, already knew where to start. I tried to convey to him all my information , my memories, and my passion for that instrument. Marco accompanied me on this quest and, like a true enthusiast, he set out to shape it into software variants day by day, slider by slider, oscillator by oscillator.

Below you can see the graphics of the original from which Marco then extrapolated the layout of the software interface!

True to the original!
Upon startup, the CRB URANUS 1 will appear like this on your computer:
Marco Molendi reproduced all the oscillators as well as the eight VCFs, VCAs, LFOs, and much more! The instrument offers a mirror image of all the features and a few added features typical of modern day utilities. Marco was also more generous than expected, equipping this variant with 10 programmable memories. (Back then, talking about memories was like spotting a UFO!)

Together we refined all the features with tempo sounds (including the Drum Machine), polytimbral priorities and much more.

Today, this pursuit of memory has become an easy-to-install software and… FREE . Yes, you read that right: FREE .

In the installer (currently only for the Windows platform ) you can select your preferred format (Standalone or VST 3 plugin), and you will also find the user manuals describing the various utilities and settings, as well as the 10 presets created by yours truly, with the relative descriptions and audio demos for each. The installer also includes a demonstration video , which you can see below.

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VST.Uranus  ( 42 MB )