Free | Win | 1.85 MB

Linda Audio releases Digimorph VST – experimental digital synthesizer. It does not emulate any real hardware, instead it brings original combination of substractive and additive synthesis with powerful modulation matrix. On top of that there are quality master fx (chorus, delay, reverb and two saturations) and arpeggiator. Digimorph is capable of wide range of sounds from ethereal evolving pads to gritty chiptune leads, raw digital basses or synth arpeggios, beatiful organs or some fm-like sounds. There are 200 presets included, covering all of these areas. Digimorph is great for modern electronic music, soundtracks, chiptunes, or anywhere where you need to add some original and interesting digital sounds.

The core of Digimorph is additive non-band limited oscillator which can contain mix of 16 harmonics. Its shape can be sinus, triangle, pulse, saw and multi-pulse. This can be run in monophonic, polyphonic (max 16 voices) or live-arp mode. In live-arp mode presed notes are automatically generating arpeggio sequence.

Additive section (violet) allows to set gains of harmonics. Other parameters are Phase shift – adjusts phase offset added to harmonics, Harmonics slope – adjusts how fast harmonics decay or rise in time and Harmonics lfo – introduces modulation to harmonics gains.

Each oscillator has several classic parameters (yellow) such as amp, pitch, fine tune, pan, glide and spread (random spread of notes in panorama).

There are some more sound-character parameters (orange section). Pulse width adjusts pulse width for pulse, saw and multi-pulse shapes and can be applied in two different modes – classic and harmonic. Wave shaper introduces wave-folding by sine wave. And Ring mod adds ring modulation by sine or saw wave with adjustable speed (this can be free or locked to harmonics).

In gray section there are sound degradation parameters – Bit div is sample rate divider, Bit feed introduces feedback of samples reduced by Bit div and Pitch noise adds random pitch modulation with variable speed.

After each oscillator there is one multi-mode, state-variable resonant filter (red section) which can be continuously switched between low-pass, band-pass and hi-pass with adjustable frequency and resonance.

Each oscilator can be modulated by two ADSR envelopes (one for amp envelope and second for anything else) and two LFOs. It can be also modulated by note velocity, modwheel (can be switched to listen also to aftertouch controll) and arpeggiator. LFO’s amp and speed can also be modulated by ADSR 2 and by modwheel. All available modulations can be set directly by sliders in the center of the Digimorph gui

Arpeggiator is a tempo synchronized step sequencer of maximum 16 steps. You can adjust sequence length, loop start and tempo. For each step you can adjust oscilator pitch, shape and modulation source. Modulation source can be interpolated.

In Live-arp mode you can select from several sequence shapes. If Arp-on switch is engaged, shape and mod arpeggiator modulations are applied.

At the end of the sound generator chain there are several master fx (blue section). Available is Chorus, Ping-pong delay, Reverb and two distortion modules (DIST1 adds more subtle harmonic distortion while DIST2 applies tube saturation).

Digimorph also provides undo, redo, A/B and 200 presets.
If you like and use Digimorph, please support its future development as well as development of my other plugins. You can donate via paypal.

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Digimorph  ( 1 MB )

FREE | EXE+DMG+SO | 24.5MB

MAIM is an audio plugin that circuit bends an MP3 encoder in real time, disrupting the control flow sending data down unexpected paths to create digital distortions. With heavily hacked real MP3 encoders at its core, MAIM gives you the full gamut of digital distortion, from the realistic to the fantastical.

MAIM features two real MP3 encoders, captured in the wild and painstakingly incorporated into a real-time plugin.

We’ve woven mad-science circuit bending into MAIM’s MP3 encoders, to give you fine control over a whole palette of spectral distortions and face-melting glitches.

All knobs can be smoothly dragged and automated, without pops or gaps in the sound.
MAIM works across DAWs, on Mac (AU/VST3), Windows (VST3), and even Linux (VST3).

MAIM is licensed under the GPL v3.0 license, so you are free to use and even modify it, as long as any redistribution of the software is under the same license.

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Maim 1  (  MB )

size 0.1 MB

ttm006 is a digital synthesizer with a unique waveform synthesis engine and modulation mechanism.

By selecting any one of five different waveform generation patterns and adjusting up to eight parameters, waveform generation can be performed with simple operation.

Instead of shaving the waveform with a filter as in a general synthesizer, any desired timbre can be obtained by changing the phase of the generated waveform over time.

For final tone adjustment, a high-pass filter, low-pass filter, and chorus are provided.

• Generation of basic waveforms from nothing using a unique algorithm.
• Positive tone generation by our unique modulation mechanism.
• Practical sound generation with simple operations because it is focused on basic functions.
• Small memory usage and light load.

https://sites.google.com/view/ttm-works

ttm006_x86  ( 0.1 MB )

ttm006_x64  ( 0.1 MB )

size 0.1 MB

ttm012 is a digital synthesizer with a unique waveform synthesis engine and modulation mechanism.

The waveform generation engine is the same as that of ttm002, but it has added filter functions and other features to provide more flexibility in sound creation. Although it calls itself a digital synthesizer, the feel is the same as that of an analog synthesizer, and of course it excels at analog synthesizer sounds as well.

By selecting any one of five different waveform generation patterns and adjusting up to eight parameters, the main oscillator waveform can be generated with simple operation. In addition, modulation and LFO waveforms can be superimposed as sub-waveforms for more complex sound creation.

For final tone adjustment, a high-pass filter, low-pass filter, chorus, and echo are provided.

• Generation of the main oscillator waveform using a unique algorithm.
• Original modulation mechanism for tone changes.
• LFO can be selected from 6 different waveforms including the main oscillator.
• Modulation and LFO waveforms can be used as sub-oscillators.
• Small memory usage and light load.

https://sites.google.com/view/ttm-works

ttm012_x86  ( 0.1 MB )

ttm012_x64  ( 0.1 MB )

CX5M-V is an emulation about the 1984 Yamaha CX5M and 1985 Yamaha CX5M-II. (Almost identical).
The CX5M incorporates a classic Yamaha FM sound process, using 4 operators and 8 algorithms. It also includes the Yamaha-type feedback, which routes the output of an operator to its own input.
Referring to Fourier Series, an important feedback will generate a Sawtooth spectrum, but with important Gibbs distortion. Due to some approximations, the feedback effect is hard to reproduce. SynthEdit – that was used to develop this software – cannot run instant feedback loops, so I had to use a special third party module from Elena Design.
This module uses Lagrange polynominal cubic interpolations, so we can’t obtain a perfect sine. In FM, every single harmonic plays an important role as it sometimes modulates to high coefficients other harmonics. Yet as at the beginning we don’t have a perfect sine, the result differs from a true DX-type Feedback process.
Though I tried to correct the feedback spectrum using butterworth filters, that better fits the original behavior. Anyway, because of this issue, some differences can be heard when comparing this software with an original unit, as feedback rate goes over 50%. This specific module isn’t available for Mac, so that’s why this software is Windows-only (And 64-bits).
The original CX5M runs on a 3.58 Mhz processor, in 8 bits. As a result, strong aliasing can be heard on low frequencies. I have recreated this distortion the very same way it sounds on an actual CX5M. Since it runs on 8 bits, the envelopes are not perfectly smooth. On long attacks/releases, you can hear steps – this was recreated in this plugin too.
Regarding envelopes, the CX5M had an ADSDR outline, that I changed to ADSR + Delay, to my mind more interesting. The CX5M also provided a weird HF attenuator/envelope shortener parameter, that I changed into a low pass gatted filter, as the original idea was too complicated for pretty useless results.
The volume adjustment parameter was deleted (it wasn’t even used in factory presets). Same for a FM noise generator thing on OP1 – it wasn’t used again (And I never succeeded to activate it – but the results are identical to max feedback effect). Finally, LFO was simplified from a useless distinction of PMD/PMS and AMD/AMS.

https://sites.google.com/site/digitalsystemic/

CX5M-V  ( 3.26 MB )

DigiVerb is a classic digital reverb unit.

• 15 Presets to use in Insert +15 Preset to use with FX Sends.
• Plates
• Rooms.
• Halls.
• Adjustable Room Size.
• Hi Frequency Damping Control.
• Mono – Stereo or Reverse Stereo Image Control.
• Dry Volume – Wet Volume.
• Input & Output VU Meters.

https://www.mbaudiolab.com/index.html

DigiVerb-Windows_32Bit  ( 13.2 MB )

DigiVerb-Windows_64Bit  ( 13.3 MB )

DigiVerb-Free.dmg_  ( 17.8 MB )

AfterShock Digital Delay is a triple delay unit.

AfterShock can hold a delay for up to 6 seconds and features 3 independent delays: one left, one right and one center. Each of these delays has separate controls for feedback level, volume level and delay type. You can select from tap delay, host tempo delay and standard delay. Additionally, dry/wet mix knobs are included, giving you a transparent, flexible, and powerful delay effect.

• 3 independent delays.
• Each delay is individually adjustable.
• Delay times of up to 6 seconds.
• Delay times controllable via tapping, tempo, and standard knob methods.
• Delay can be synced to your DAW for easy integration with your other effects.
• Dry/wet mix knobs allow for any use from subtle to extreme.
• Transparent and honest character allow for use on any sound source.

AfterShockDelay  ( 1.35 MB )

size 3 MB  / 9 MB

Temper is a modern digital distortion plugin featuring a rich saturation stage and a unique phase distortion.

Use the variable saturation curve to add warmth and edge to your sound, and let the phase distortion bring character and clarity through your mix.

Temper also features a simple resonant lowpass filter and a feedback path to drive the intensity of the tone

https://www.creativeintent.co/

Temper_Win  ( 3 MB )

Temper_MacOS  ( 9 MB )

Digital Parametric Equalizer features

• Highpass & Lowpass filter + 6 bands (-/+ 24 range for each).
• 4 settings for the bands:
  1. Standard: 100Hz, 360Hz, 720Hz, 1.5KHz, 5KHz, 10KHz.
  2. Bass: 60Hz, 100Hz, 200Hz, 500Hz, 800Hz, 1.5KHz.
  3. Vox: 240Hz, 380Hz, 800Hz, 1.2KHz, 2.5KHz, 5KHz.
  4. Guitar: 125Hz, 250Hz, 500Hz, 1KHz, 2KHz, 4KHz.
• Main output and on/off controls.

Digital_Parametric_Equalizer_Passion  ( 2.07 MB )