4 MB

Ten delay algorithms, one knob set.

Ten delay algorithms — from a clean Standard repeat to Pitch-Shifting and Reverse — unified behind one set of Time, Feedback, Mix and tone controls, with cubic interpolation keeping every modulated tap smooth.

Features:

Ten delay types: Standard, Ping Pong, Multi-Tap (up to 8 taps), Tape, Analog/BBD, Digital, Slapback, Modulated, Pitch Shifting and Reverse

Tape mode: wow & flutter, saturation and an “age” character control

Analog/BBD mode: grit and adjustable bucket-brigade stage count

Modulated mode: LFO rate, depth and selectable waveform

Multi-Tap: configurable tap count and spread across up to 8 taps

Reverse mode using a chunked double-buffer for glitch-free backwards playback

Tempo-synced Time mode with 21 note divisions (whole down to 1/64, each in straight, triplet and dotted variants) alongside free-running milliseconds

Soft-knee safety limiter on the feedback path to tame runaway resonance without harsh clipping

Global low-cut/high-cut tone shaping, stereo width and feedback

Delay time up to 3 seconds with smooth, cubic-interpolated modulation

Real-time delay visualizer

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Omni Delay Setup  ( 4 MB )

54.59 MB / 158.55 MB

WRAITH: Astral Reverb Plugin
Send Your Sound Somewhere Strange
From intimate rooms to haunted, otherworldly washes, WRAITH brings eight distinct reverb modes into one pedal-style plugin.

Explore Hall, Plate, Spring, Crypt, Bloom, Reverse, Rust, and Frozen. Shape the space, add movement, and push it into distortion with a Drive control that processes only the reverb.

Clean Sound. Beautifully Damaged Space.
A vocal can stay clear while its reverb turns rough around the edges. A drum can hit hard while a scorched tail blooms behind it. A simple melody can leave an entirely different texture in its wake.

WRAITH’s Drive control lets you add warmth, grit, and distortion to the reverb without distorting your source.

Dial in a little character, let the reflections fray, or push the space into outright destruction.

How Does WRAITH Work Exactly?
Choose From Eight Distinct Modes. Start with the familiar characters of Hall, Plate, Spring, Crypt, Bloom, Reverse, Rust, and Frozen for more unusual spaces.

Use WRAITH to add everyday depth to a mix, create a dramatic trailing effect, or turn a short sound into a lingering atmosphere.

Keep a vocal forward, give a snare more space, or let a synth disappear into a long, moving tail.

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Wraith.1.0.1.WIN  ( 55 MB )

Wraith.1.0.1.MAC  ( 159 MB )

4.03 MB

Four shimmer & granular reverb engines in one plugin.

Four complete shimmer-reverb engines behind one mode switch, each with its own deep parameter set — from LFO-modulated pitch-shift ambiences to a cinematic four-layer granular shimmer — with a GUI animation that reacts to the live output.

Features:

ChaffVerb mode — LFO-modulated pitch shift into highpass, echo and reverb, with an optional randomised pitch-step generator

Elysiera mode — dual independently-tuned LFO pitch shifters feeding a multiband-decay reverb with tremolo

Cinematic Shimmer mode — Zita-core reverb with up to 4 independent granular pitch-shift feedback layers, each with its own semitone and gain

Kajuby mode (the original) — pitch up/down shimmer with detune, modulation, decay/damping, stereo width, tilt and drive

Each mode’s own dedicated dry/wet control is bound automatically to the main Mix knob when you switch modes

GUI shimmer animation reacts in real time to the actual post-effect output level

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Shimmer Ultimate Setup  ( 4 MB )

81.11 MB

Nine reverb algorithms and a 190+ impulse-response library.

A single reverb plugin covering nine distinct algorithms — from vintage Spring and Plate to Convolution and modern Granular — with a large bundled impulse-response library spanning rooms, chambers, halls, plates and spaces.

Features:

Nine reverb engines: Room, Plate, Spring, Hall, Chamber, Convolution, Velvet Noise, Modulated Allpass Cloud and Granular

Room: size, pre-delay, damping and early/late reflection balance

Plate: mass, pre-delay, decay and bass-shear controls

Spring: spring count, tension, drive and dwell

Hall: decay, modulation depth/rate, width and independent low/high multipliers

Chamber: volume, diffusion and selectable reflection pattern (Concrete/Wood/Tile)

Convolution: IR trim start/end, time-stretch and true-stereo processing, with your own impulse response loadable at runtime

Velvet Noise: density, IR length, decay, damping and tone — a modern noise-based algorithmic reverb

Modulated Allpass Cloud and Granular (CloudSeed-style multi-line) engines for lush, evolving ambient tails

190+ bundled impulse responses across Ambiences, Chambers, Halls, Plates, Rooms and Spaces

Real-time input/output metering and reverb visualizer

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Omni Verb Setup  ( 81 MB )

151 MB

Meet ENTITY: Dream Signal Delay – the ultimate creative FX plugin designed to turn dry, boring sounds into lush, otherworldly atmospheres.

Whether you’re looking for vintage tape warmth, gritty lo-fi echoes, or mind-bending ambient textures, ENTITY delivers unique character you won’t get from standard delay plugins.

Key Features:

• Dream Signal Engine: Lush, surreal delays and multi-textured echoes.
• Warmth & Grit: Built-in drive, pitch modulation, and tape degradation controls.
• Instant Vibe: Perfect for guitars, vocals, synths, and turning simple chords into full soundscapes.
• Immersive Interface: Sleek, retro-futuristic visuals with an intuitive workflow.

Transform ordinary loops into haunting, dreamy spaces with just a few knob turns.

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Cymatics.Entity.1.0.0  ( 151 MB )

35 MB

The Most Popular Song Transition Technique Made Easy
Reverse reverb has become one of the most recognizable transition effects in modern production, but creating it manually can take several tedious steps.
PHANTOM automates the entire process.

Drop in any sample. Generate an instant reversed reverb.
Shape it with intuitive macro controls.
Then drag the finished transition directly into your project.

Fully Optimized Reverse Reverb Workflow PHANTOM was designed around one goal:
Creating beautiful transition effects without interrupting your creative flow.
Simply import any sound and customize it using powerful creative controls.
Dial in the perfect amount of space, texture, width, tone, and movement until the transition fits your track perfectly.
When you’re finished, drag the processed audio directly into your DAW and keep producing.

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Phantom.0.5.4-0.5.5  ( 35  MB )

15.3 MB

A delay where every repetition is replayed at a different tape speed — pitch and duration change together.

Features:
– time knob, free (0.1 ms – 20 s, floored at the audio buffer) or tempo-synced (up to 2 bars), with tap tempo and a ring showing where each note division falls at the current tempo
– speed knob 1/4x – 4x, with a 3×3 shortcut grid: octaves plus fourths and fifths
– feedback 0–2, raw (cumulative varispeed) or stable (one-shot varispeed) recycling
– 7-band graphic EQ in the repetition path, ±12 dB, bypassable
– separate dry and wet levels
– slow repetitions overlap the following ones, never cut off at the period boundary
– time mode switch: regrid the tail on a time change, or bend it like tape
– spacing switch: keep repetitions on the grid, or let them run away like a tape loop
– PPQ-anchored sync, so a bounce matches what was auditioned from any start point
– short crossfades at repetition edges and at the input/recycle join for click protection
– soft clip in the recycle path with an adjustable threshold, −36 to −1 dBFS; the knob’s arc turns red while it is actually working
– loop-gain readout — feedback times the largest EQ boost, since that boost compounds too — so the point where the tail stops decaying is visible rather than guessed
– resizable UI: pick a zoom or drag the corner; every value can be typed, shift-drag is fine control, double-click resets, and hovering anything explains it in the footer

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VarispeedDelay.0.3.0  ( 15 MB )

24.7 MB

In 1983, most digital delays sounded like calculators. One did not. A little blue rack unit had a warmth, a liquid modulation, and a way of softening transients that players still describe as “analog”, and it did it with an architecture nobody else was using: adaptive delta modulation, a one-bit-per-clock codec ticking away at up to a megahertz. Studios kept them for decades. The used-market survivors are pushing forty, with DRAM and pushbutton interlocks from the Reagan administration. EFFEK is our love letter to that machine.

Inside EFFEK there is a real 1-bit adaptive delta modulation codec running at the hardware’s true 250 kHz – 1 MHz bit clock.

– The RAM is real, each range button switches in its actual memory depth, 250 bits on FLANGE HI up to 256 kilobits on LONG ECHO. Bandwidth is set by the oversampling ratio, not the delay length, so a full second of echo stays as bright as a one-millisecond flange.
– One clock rules everything: DELAY FACTOR and the sine LFO both bend a single shared VCO driving encoder, memory addressing and decoder. True varispeed: a continuous tape-style Doppler glide over two octaves. It physically cannot glitch, because there is nothing to interpolate.
– The warmth is slope overload, fast transients momentarily outrun the codec’s adaptive step size, so edges arrive rounded. The famous softness, happening bit by bit.
– The grain breathes, quiet passages ride a fine, signal-correlated granular noise swelling and decaying on the codec’s 60 ms syllabic time constant. Not hiss, not dither: the sound of a one-bit machine thinking.
– Repeats age like tape generations, feedback is re-encoded through the codec on every pass, behind the hardware’s 12 kHz loop filter, at sub-unity gain.
– Pseudo-stereo out, the hardware’s phase-shift output stage: bass anchored in the middle while mids and highs spread. Simulated stereo, 1983-style.

The faceplate is the ADM 1024 you remember, the badge, the lamps, the seven square pushbuttons, the MODULATOR box, the rack ears, redrawn in THETA’s deep-water Abyssal palette.

– Six range buttons: FLANGE HI / MID / LO, DOUBLE, ECHO SHORT / LONG, spanning 0.25 ms to 1024 ms in the original 4:1 banks, plus the coral INFINITE REPEAT.
– Bipolar FEEDBACK: positive or negative regeneration from one centre-tapped pot, for two different flavours of comb.
– Bipolar DELAY MIX: SOURCE at noon, normal wet clockwise, phase-inverted wet counter-clockwise. The inverted side is half the classic flange recipes.
– MODULATOR: WIDTH and SPEED driving the shared VCO. From subtle chorus shimmer to a full pitch-bending, gargling rollercoaster.
– Honest lamps: LIMIT is wired to the actual encoder slope-overload detector and input clip. ACTIVE reads the real post-pot level. The marker on the millisecond scale is the engine’s actual delay, live, LFO wobble and all.
– INFINITE REPEAT: freezes the bit RAM, non-deteriorating, while the modulator keeps bending the frozen loop. Sound-on-sound, exactly as the panel promised.

Here is the part you will not find in the manual. We owned one of these. And like every owner who ever got curious, we discovered that the range buttons are a mechanical interlock, and mechanical interlocks can be defeated.

– ALL BUTTONS IN: jam several range buttons down at once and every selected DRAM bank fights for the same read line. Modifier-click to latch them together and the banks genuinely contend for the bus: the delay you dialed in dominates while fragments of the others punch through as ghost grains and granular stutter. With all six latched, DELAY FACTOR becomes a master time control sweeping the entire 0.25 ms – 1024 ms span on one knob, audibly changing gears at every boundary.
– NO BUTTONS: the most elusive easter egg, beloved of the deep-cut crowd. Defeat the interlock so no bank is selected and the codec feeds itself with zero delay, leaving only its adaptive slew behaviour: a genuinely lovely, faintly grainy studio limiter hiding inside a delay pedal. Ships as the factory preset NO BUTTONS LIMITER.

The original owner’s manual’s recipes work in EFFEK: for the same reasons they worked on the hardware.

– Flange: HI or LO range, feedback near max (either polarity), WIDTH high, SPEED slow.
– Doubling: DOUBLE range, DELAY MIX at ±50%, a touch of feedback, gentle modulation.
– Vibrato: LO range, small WIDTH, SPEED 2–5 Hz, MIX at ±100%.
– Wind resonance, flange range, maximum feedback, DELAY FACTOR around 0.5–0.75, MIX at ±100%. Self-oscillating comb heaven.

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EFFEK_v0.1.19 MAC  ( 25 MB )

19.9 MB

Tape Echo 2 is a three-head tape delay and spring reverb, modeled from the record head to the output amplifier. Completely free.

A tape echo is a loop of tape running past one record head and three playback heads. Where the heads sit determines the rhythm, how fast the motor turns determines the tempo, and how much signal you feed back onto the tape determines whether you get one repeat, a rhythmic cascade, or a howling runaway.

Tape Echo 2 models that machine rather than approximating it with a delay line. The three heads share a single motor, so moving the Repeat Rate moves all three together and the tape glides into its new speed the way a real transport does. Age the tape and the wow, flutter, hiss, and level wobble all worsen together. Push the regeneration and the loop saturates, compresses, and eventually self-oscillates.

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Tape.Echo.2.1.0.2  ( 19 MB )

35.9 MB

Multi-Modal Delay with Parallel Processing. Parrot is a multi-modal delay tool and here to fly away with you. With PARROT, you can play around with effects ranging from chorus and saturation to disperser and pitch shift.

Create up to 3 different cohesive delays or textures in parallel, adding a colourful character to your sound, all while targeting your desired separate frequencies freely on the frequency range spectrum.

Ranging from chorus to pitch shift, you can play around with different filter effects. Create up to 3 cohesive delays in parallel, adding colorful character to your sound.

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Parrot.1.0.2  ( 36 MB )