Free | Win Mac Linux | 45 MB

A lookahead compressor/limiter that’s soft as a lamb.
Lamb was made with these goals in mind:
Sound as clean as possible and as dirty as desired.
Give the user full control over the character with the minimum amount of knobs.

Features:

The following features set it apart from other compressor/limiters:

Use it as a brickwall limiter, a compressor, a leveler, a waveshaper/clipper or anything in between.
As long as the ratio is inf:1, the lookahead is 100% and the output gain is 0dB, the output will not exceed the threshold1.
When the attack, release, release hold and adaptive release are all at their minimum value, you get a waveshaper/clipper.
When adaptive release is at 100%, you get a leveler.

Adjust the shape of the attack and release.
The inspiration for this came from a video by Dan Worrall.
When shape is at 0, the curve is a slice of pure sine.

No discontinuities in the derivative of the gain reduction.
The gain never abruptly changes direction, resulting in a smoother sound, even at short attack and release times.

Release hold eliminates distortion while keeping most of the level.
Release hold prevents the gain from coming up if it needs to go back down again soon.
You control how soon is soon.
Here’s a gain reduction graph with and without it:

Adaptive release (optionally) prevents pumping.
With adaptive release, the gain won’t rush up too much when there is a quiet part after a big peak, but it will still react quickly to transients.
The first couple of dB of release have the speed you set with the release knob, after that it slows down.
The adaptive release slider controls how many dBs will release fast and how much it will slow down afterwards.
If you DO want obvious pumping, just turn adaptive release off!

Exact attack and release times allow you to easily match any breathing to the tempo of your track.
In most compressors and limiters, the times describe how long it takes to do “most” of the gain change.
In lamb, 500 ms corresponds to exactly 1/4 note at 120 BPM.

Adjust the amount of stereo linkage.
Most limiters are fully stereo linked. This makes sense, since you don’t want the stereo image to shift.
However, if the asymmetry in gain reduction is small and short enough, you won’t notice any shift in stereo image.
(Partially) unlinking left and right can sometimes sound more natural, because a loud sound on one side won’t make the other side duck in level.
Slower changes in gain reduction, caused by adaptive release, are always fully linked.
You can set the amount of linkage for transients as needed.

Choose between fixed or minimum latency.
In most case, you can leave this at fixed, but if you want to use lamb live or for tracking, you can set it to minimum.
The latency is always reported to the host.

Downsides:

There are two main downsides to this plugin:

Heavy on the CPU.
Because of the advanced algorithm, this plugin is quite heavy.
I have done everything in my power to make it lighter, from writing a highly optimized sliding minimum algorithm
to writing an N dimensional memoization function.
If you are good at math or computer science and want to help me optimize it more, open an issue, or better yet a PR!
Long latency.
The clean sound of this plugin is partially made possible by a copious amount of lookahead.
In fixed latency mode, the latency is 100ms.
In minimum latency mode, the latency depends on the attack, release hold and lookahead parameters.

Home

Lambv2.0  ( 45 MB )

size 149 MB

35 VST3 Synthesizers & Effects

Plugins:

Synthesizers:

ClangSynthh
CollidingCombSynth
CubicPadSynth
EnvelopedSine
FDNCymbal
GenericDrum
IterativeSinCluster
MaybeSnare
MembraneSynth
LightPadSynth
SyncSawSynth
TrapezoidSynth
UltraSynth
WaveCymbal

Effects:

AccumulativeRingMod
BasicLimiter
CombDistortion
EsPhaser
FDN64Reverb
FeedbackPhaser
L4Reverb
LatticeReverb
LongPhaser
MiniCliffEQ
NarrowingDelay
OrdinaryPhaser
ParallelComb
ParallelDetune
PitchShiftDelay
RingModSpacer
SevenDelay
UltrasonicRingMod

GenericDrum:
GenericDrum is a generic drum synthesizer using delays. This one can make convincing snare and bass drum sounds. Cymbal sounds can be made, but it’s not as good as lower pitched drum sounds.

FeedbackPhaser:
FeedbackPhaser is a phaser but the modulation source is feedback signal rather than an LFO. It sounds more like a distortion rather than a phaser most of times.

AccumulativeRingMod:
AccumulativeRingMod is a ring modulator that uses accumulated amplitude of input signal as the phase. When applied to simple waveforms like a sine wave, it sounds similar to FM.

RingModSpacer:
RingModSpacer is a sidechain limiter that adds severe distortion. First, full-wave rectification is applied to sidechain input. Then rectified signal modulates amplitude of main input. The sum of modulated main signal and raw sidechain signal won’t clip, when both peak amplitudes are under 0 dB. That’s the theory. The hard part is to figure out when to use this effect.

ParallelDetune:
ParallelDetune is a detuning effect with 8 pitch shifters connected in parallel. It can be used to spread stereo image similar to chorus effect.

OrdinaryPhaser:
OrdinaryPhaser is an ordinary phaser with a delay on feedback path. Note events can be used to control all-pass cutoff frequencies and delay time.

NarrowingDelay:
NarrowingDelay is a delay with serially connected pitch shifter and frequency shifter on feedback path. The spectrum of input signal can be narrowed or expanded for each feedback. It is more suitable for sound without stable pitch. Note event can be used to control frequency shift amount.

LongPhaser:
LongPhaser is a phaser using Schroeder all-pass filters which is able to set some long delay time. The sound is like somewhere between delay and phaser. It feels a bit underwhelming, however modulation with LFO and note events may be used to compensate the lack of character.

CombDistortion:
CombDistortion is a distortion using self-modulating comb filter. Raw output sounds harsh, and it is better to use with external cabinet impulse response. Note event can be used to control delay time of comb filter.

MaybeSnare:
MaybeSnare is a synthesizer that resembles sound of snare drum. This is basically 2 MembraneSynth coupled by cross feedback. Snare wire is not included. However, the noise of modulation adds rattling texture similar to snare wire.

MembraneSynth:
MembraneSynth is a synthesizer that resembles sound of percussions with membrane, like bass drum or tom tom. The texture comes from self-modulating feedback delay network (FDN). Some strange noise can also be made by utilizing oscillation caused by self-modulation.

UltraSynth:
UltraSynth is an ordinary synthesizer except 64-fold oversampling that is the same one used in UltrasonicRingMod. Because of the high oversampling ratio, modulation sound is okay. However CPU load is high.

Other plugins :

UltrasonicRingMod:
UltrasonicRingMod is a ring modulator with 64-fold oversampling. Maximum modulator frequency is 1 MHz. That said, just modulating with ultrasonic frequency doesn’t produce anything audible. Therefore, phase modulation and hard clipping are added to make some noise in audible frequency.

ClangSynth:
ClangSynth is a synthesizer suitable for percussion sounds. Each voice equips an 8 * 8 feedback delay network (FDN) as a resonator. Oscillator is static wavetable with controls specialized to make pulse train. For better cymbal sound, ClangCymbal is also available.

PitchShiftDelay:
PitchShiftDelay is a time domain pitch shifter based on usual delay. The quirk of pitch shifter is somewhat reduced by 16x oversampling. Also the internal buffer length can be changed in real time. PitchShiftDelay doesn’t equipped with formant correction. So applying to voice may sounds strange, like Helium is inhaled.

ParallelComb:
ParallelComb is a comb filter which has 4 different delay time and 1 shared buffer. A limiter is inserted on feedback path to make the output somewhat clean. Weird distorsion can be added by modulating delay time using feedback signal amplitude.

FDN64Reverb:
FDN64Reverb is a reverb equipped with a feedback delay network (FDN). However, the size of feedback matrix is 64.

https://ryukau.github.io/VSTPlugins/

Uhhyou_Plugins0.61.0  ( 149 MB )

224/334/187 MB

zam-plugins is a collection of LV2/LADSPA/VST/JACK audio plugins for sound processing developed in-house at ZamAudio. The default settings and almost every slider is calibrated to standard ranges. A big thankyou to falktx for writing Distrho Plugin Framework. It has enabled me to make these GUIs for zam-plugins quickly and neatly. Also thanks to mira, nphilipp, adi, edogawa and Haskellfant who helped package the software for different distros!

Plugins:

ZaMaximX2:

One of the best plugins in the series, this acts as a brickwall limiter for mastering in its default state, but can also be tweaked to raise the average level as a stereo maximizer without ever clipping. Sounds musical even with rough treatment. (Based on DSP found in a DAFX’02 paper).

ZamAutoSat:

An automatic saturation plugin, has been known to provide smooth levelling to live mic channels.
You can apply this plugin generously without affecting the tone.

ZamComp:

A powerful mono compressor strip. Adds real beef to a kick or snare drum with the right settings.

ZamCompX2:

Stereo version of ZamComp with knee slew control.

ZamEQ2:

Two band parametric equaliser with high and low shelving circuits.

ZamGEQ31:

31 band graphic equaliser, good for eq of live spaces, removing unwanted noise from a track etc.

ZamHeadX2:

HRTF acoustic filtering plugin for directional sound.

ZamPhono:

A collection of phono filters for restoring vinyl records, or preparing to cut new ones.

ZamGate:

Gate plugin for ducking low gain sounds.

ZamGateX2:

Gate plugin for ducking low gain sounds, stereo version.

ZamTube:

Wicked distortion effect. Wave digital filter physical model of a triode tube amplifier stage, with modelled tone stacks from real guitar amplifiers (thanks D. Yeh et al).

ZamDelay:

A simple feedback delay unit with sync-to-host BPM feature and filter.

ZamDynamicEQ:

A dynamic equalizer that changes its gain based on detecting a narrow band of frequencies. Can be tuned to alter other frequency ranges on-the-fly.

ZaMultiComp:

Mono multiband compressor, with 3 adjustable bands.

ZaMultiCompX2:

Flagship of zam-plugins:
Stereo version of ZaMultiComp, with individual threshold controls for each band and real-time visualisation of comp curves.

Ever since I got the ZaMultiCompX2 plugin, I have never used (other) compressor. It has independent gain control attack and release with knee makes it versatile and superior. You can make it a dinosaurs and eat up annoying frequency and use it as a way of EQ.

ZamVerb, ZamNoise and ZamSynth:

zam-plugins-4.3-win64  ( 105 MB )

zam-plugins-4.3-win32  ( 119 MB )

zam-plugins-4.3-macos-universal  ( 200 MB )

zam-plugins-4.3-macos-intel  ( 119 MB )

zam-plugins-4.3-linux-x86_64  ( 37 MB )

zam-plugins-4.3-linux-riscv64.  ( 38 MB )

size 114 MB

“YS – Vintage Channel Strip 20th” mixer channel strip plugin contains a basic set of mixing tools. Compressor – Expander – Peak Limiter, Equalizer, Panning and Room Emulator.

Saturation with even harmonics (Saturate) Light “toning-warming” makes the sound softer by removing the 6 kHz harshness (Warm) Panning can be done in the usual way by selecting linear or -3 dB Pan Law or frequency-dependent by lowering the low frequencies with a cutoff filter with the addition of the Haas effect with a short delay of less than 1 ms (approximate distance between the ears) Fader “Distance” lowers the volume and lowers the high frequencies, and also reduces the delay for room emulation (PreDelay) for a more natural feeling of distance of the sound source.

Each device can be downloaded separately. The plugin has stereo and mono versions. Compressor and equalizer also in the two-mono version for individual adjustment of the left and right channel or central and side (Mid-Side).

The two-mono equalizer can work in stereo, two mono and as central and side (Mid-Side) modes. Random – random selection 1-24 to add differences in settings between channels will give a more voluminous sound, the Play button turns on automatic switching of random channel selection, thereby eliminating static and adding liveliness of perception.

The LUFS volume meter will give the opportunity for orientation to stay in the right balance. For ease of comparison, the meter shows the input and output signals. Drive – adds harmonics for color. Noise adds noise – artifacts not statically, but in dynamics. The knob is double and one part adds white noise left-right LR, and the second pink noise Mid-Side. center and side.

https://www.facebook.com/Yriisem

YS-_Vintage_Channel_Strip_20th_v_1.04  ( 114 MB )

size 4 MB

BUILT WITH THE MIXING AND MASTERING ENGINEER IN MIND.

The Clipper has a very simple interface, with just the following parameters: Gain, Trim, and a Hard/Soft switch.

Put the file here:
C:\Program Files\Common Files\VST3

atlas-audio.hu/termek/atlas-clip/

ATLAS-Clipper  ( 4 MB )

size 4 MB  / 14 MB

KolinMB is a vintage multi-band limiting amplifier.

• Attack: 1ms to 50ms Attack Time.
• Release: 0.1sec to 3sec Release Time.
• MIX: Knob to blend DRY and WET signal (Each band has its own MIX knob and also there is MASTER MIX knob!).
• EXT-SC: External Sidechain for each band.
• IN: 40dB gain compensated input control for each band and also, master section. You can simply set input to get compressed signal and even, you can feed all bands with MASTER IN at the same time!
• OUT: +/- 20dB output control for each band and MASTER OUTPUT.
• I/O: Bypass for each band and ”MASTER SECTION” to bypass whole plug-in.
• LOW X-OVER: 50Hz to 1.2kHz.
• HIGH X-OVER: 1.2kHz to 12kHz.
• OS: Oversampling (4x).
• Touchscreen support.
• Resizable interface. Simple “Bottom Right Corner Handle” to resize. 50% to 200%.

VST3 / AAX Native – Audiosuite | Windows 10 – 11.
Mac Versions require a graphic card that supports “Metal”.
Windows Versions require a graphic card that supports “OpenGL”.

analogobsession.com/

KolinMB.vst3  ( 4 MB )

KolinMB.aaxplugin  ( 14 MB )

KolinMB_1.0 MAC  ( 14 MB )

71 MB

Fet Bundle
– FETish –

Classic FET Compressor/Limiter with extra features!

Features

– INPUT: Extended 0 to 60dB input gain. Internally compensated input knob to drive circuit and get compression. With original gear, input will boost signal without compensation. With FETish, you don’t have to reduce volume while you boost input.

– OUTPUT: -30 to +30dB Make-Up Gain to compensate compressed signal

– ATACK: 20 to 800 microseconds with reversed knob to adjust without confusion.

– RELEASE: 50ms to 1.1sec with reversed knob to adjust without confusion.

– RATIO: Selectable 4:1, 8:1, 12:1 and 20:1. Each has it’s own curve and range to start compress. While you use lowest ratio, you should get compression quickly when you boost input. With higher ratios, compression will start at higher input gains.

– HPF: 20 to 500Hz HPF to keep low frequencies from sidechain circuit. So, compressor won’t touch to low-end.

– MID F.(Frequency 500Hz to 10kHz) / MID G.(Gain -6dB to +6dB): With these two knobs, you can set mid frequency and set it to compress more or less. If you boost mid gain (broad band), you will get more compression on selected frequency. If you reduce mid gain, mids will be less compressed.

– HF: HF knob will help you to compress high more. While FLAT position keeps highs natural, HF position will compress highs more.

– MIX: Will let you blend compressed and dry signal.

– SLAM: With this function, you will get ultra-fast and aggressive limiting option. You can use this function for every ratio.

– EXT: This will let you use external signal to compressed input signal.

– IN: Plugin Bypass

– ANALOG OBSESSION: This label is clickable. It will turn to red and engage Oversampling

– Resizable interface. Simple “Bottom Right Corner Handle” to resize. 50% to 200%

– FetDrive –

Classic FET Compressor’s Saturation

Features

– DRIVE: It will rise your input level (with gain compensation) and will saturate your signal. Input range is really extended to get more drive!

– TONE: Tone will shape your source before drive section. So, it’s Pre-Tone Control. This will let you decide which frequency range will be saturated.

– MIX: Will blend dry and wet signal.

– OUTPUT: Final output stage after MIX knob.

– PLUGIN LABEL: It’s regular bypass. It will turn to white when plugin is bypassed.

– ANALOG OBSESSION: This label is clickable. It will turn to red and engage Oversampling

– Resizable interface. Simple “Bottom Right Corner Handle” to resize. 50% to 200%

– FetSnap –

Classic FET Compressor’s Transient Enhancer

Features

– SNAP: It will enhance attack time and reduce release of signal.

– TONE: Tone will shape your source before drive section. So, it’s Pre-Tone Control. This will let you decide which frequency range will be saturated.

– MIX: Will blend dry and wet signal.

– OUTPUT: Final output stage after MIX knob.

– PLUGIN LABEL: It’s regular bypass. It will turn to white when plugin is bypassed.

– ANALOG OBSESSION: This label is clickable. It will turn to red and engage Oversampling

– Resizable interface. Simple “Bottom Right Corner Handle” to resize. 50% to 200%

*Resizing Tip: When you duplicate plug-in, it will remember current state of GUI size. But if you load new instance, it will be opened at default size. To get rid of this issue, simply follow these steps;

1. Open plug-in for the first time

2. Resize GUI according to your screen resolution or you liking before setting any knobs

3. Save this state as default preset with your DAW

Now, you will be able to load new instances with same size.

(If you want to go default size, simply double click to resize handle.)

AVAILABLE FORMATS

VST3 / AU / AAX Native – Audiosuite | Mac 10.11 – 13.X | Intel / Apple Silicon

VST3 / AAX Native – Audiosuite | Windows 10 – 11

Mac Versions require a graphic card that supports “Metal”

Windows Versions require a graphic card that supports “OpenGL”

fet-bundle

Download  ( 71 MB )

size 1 MB

• Attack, sustain, and release for envelope control.
• Gate.
• Stereo link.
• 8x oversampling.
• 512 taps FIR for up and down sampling.
• 64 taps FIR for near Nyquist frequency elimination.
• Flat amplitude response under 18 kHz on 48 kHz sampling rate.

https://ryukau.github.io/VSTPlugins/

BasicLimiter  ( 1 MB )

size 4.5 MB

FET-Limiter is a limiter designed for mastering.

n/a

Mike-Milani_FET-Limiter  ( 4.5 MB )

size 23 MB  / 112 MB

XTRESSOR NUKE is a compact and heavy hitting compressor / limiter.

Make your drums explode with this gritty compressor, and use its 3 release modes to add edge and punch to your mix. Plus the adjustable Sc hpf makes NUKE super versatile- throw it on any mix!

• 3 release modes fast nrml and slow.
• Mix knob to use Nuke in parallel .
• Adjustable Sc hpf to add versatility to any source.
• Mac 64bit / M1 Native: VST3, AU, AAX.
• Windows 64bit: VST3, AAX.

Xtressor-NUKE_WinVST3  ( 23 MB )

Xtressor-NUKE_WinAAX  ( 23 MB )

Xtressor-Nuke_MacOS.pkg  ( 112 MB )