116 MB

CM-1B: Vintage Analog Opto Compressor Plugin
The Vintage Opto Compressor That Adds Weight And Glue To Any Source
CM-1B is a vintage analog opto compressor modeled on a legendary Danish unit, bringing weight and glue to vocals, drums, guitars, and pianos.
Smooth, musical compression with a simple set of controls, so any source sits in the mix without losing its life.

The Compressor You Reach For When a Vocal Needs to Sit Just Right
Some compressors control the volume. The right one makes the whole performance come together.

And it goes well beyond vocals.

Give bass a steady foundation, add breathing weight to drums, or push room mics into thick, sustained compression. Use the parallel blend to bring that energy back underneath your original signal.

How Does CM-1B Work Exactly?
Load CM-1B onto your track, lower the threshold to introduce compression, and set the ratio for how firmly it controls the signal.

FIXED: Effortless Vocal Leveling
Built-in attack and release behavior follows the performance phrase by phrase. A natural starting point for smooth, consistent vocals.

MANUAL: Shape the Movement
Take control of attack and release to dial in the response yourself. Preserve the punch of a drum hit, soften sharp transients, or bring out the sustain in room recordings.

FIX/MAN: Fast Control, Smooth Recovery
Combine a fast fixed attack with a release that responds to the passage, catching sudden peaks while recovering more gradually through sustained material.

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Cymatics.CM-1B.0.2.5  ( 116 MB )

132.71 MB / 212.58 MB

VANISHl One Twist. Let Your Sound Wash Away.
Turn any sound into an evolving wash of reverb, delay, and granular texture, all with one knob.
VANISH transforms familiar melodies into a drifting atmosphere, builds tension before a drop, and helps one section dissolve into the next.
From a subtle trail of ambience to a full atmospheric takeover, a single twist can change the feeling of your entire track.

Ear Catching Song Transitions with One Knob
A melody fades, but its texture keeps moving. A vocal trails off into echoes. The last chord becomes the atmosphere that carries you into the next section.

VANISH brings those moments to life by combining reverb, delay, and granular processing in one expressive control.

Reverb creates a wash of space, delay leaves echoes behind, and granular texture breaks your sound into shifting fragments. Together, they turn the original audio into something you can stretch into a transition or use as a creative layer.

How Does VANISH Work?
Add VANISH to a track and turn the knob.

As you increase the effect, your sound transforms into an evolving blend of reverb, delay, and granular texture. Find a setting that complements your track, or keep turning to hear how far the original sound can disappear.

One control gives you a simple way to shape those moments without having to build a chain of separate effects.

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Vanish.1.0.5.WIN  ( 133 MB )

Vanish.1.0.5.MAC  ( 213 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 )

793 MB

Real-time audio analysis and metering, wherever you work. Eight analyzers. One native engine. Monitor system audio or an input on the desktop, inspect a track inside your DAW, or keep an eye on the signal from the terminal.

Features:
– Monitor system audio or input devices in standalone mode or as DAW plugins
– Includes eight real-time analyzers: Spectrum, Oscilloscope, Vectorscope, Waterfall, Spectrogram, VU Meter, Loudness Meter, and Waveform
– Reference track analysis and rolling capture for up 60 seconds of audio
– Customizable profiles, themes, and terminal interface (prism-tui)
– Prism Bridge for routing DAW tracks to the standalone app

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WIN  ( 126 MB )

MAC  ( 164 MB )

LiNUX  ( 158 MB )

147.82 MB

Real binaural HRTF panning — for headphones that actually feel like a room.

A binaural 3D spatializer with two DSP paths: an always-on geometric ITD/ILD/elevation/distance model, and an optional true HRTF-convolution mode driven by loaded SOFA impulse-response files — with a bundled library of binaural datasets and movement LFOs for azimuth, elevation and distance.

Features:

Autark mode — always active — a geometric ITD/ILD/elevation/distance approximation with zero setup

SOFA mode — real HRTF convolution (via libmysofa) over a loaded .sofa impulse-response file for authentic, measured binaural imaging

Bundled SOFA preset library organized into categories (FF FullSphere, IE Basic, NF Circular, NF FullSphere), browsable as a categorized preset menu, plus support for loading your own SOFA files

Automatable Azimuth, Elevation and Distance parameters

Independent movement LFOs for Azimuth, Elevation and Distance, each with its own depth and a 27-division tempo-synced rate (16/1 through 1/16, plain/dotted/triplet)

Stereo-in/stereo-out bus design for maximum host and standalone-player compatibility

Asynchronous background loading of SOFA files with automatic fallback to Autark mode if a load fails

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Neural 3D Spatial Panner Setup  ( 148 MB )

28 MB

24K: All-In-One Mastering Plugin for Bigger, Clearer & Louder Mixes
Cymatics 24K brings the power of an entire analog-inspired mix bus chain into one simple plugin.
It shapes your frequency balance, adds harmonic weight, controls dynamics, glues everything together, and pushes your track toward competitive loudness, all without forcing you to build a complicated mastering chain.

Get Polished Hard Hitting Mixes Without The Headache
Getting a mix loud is easy.

Getting it loud while keeping the punch, clarity, balance, and movement of the original production is where things usually get complicated.

24K condenses that entire finishing process into one focused interface.

The result is a mix that feels heavier, clearer, more cohesive, and ready to play next to professionally released music.

How Does 24K Work Exactly?
RADIANCE drives 24K’s internal chain of harmonic processing and multiband dynamics. As you increase it, the mix becomes denser, more controlled, and more connected, without making you manage every processor individually.

Choose between three character responses depending on what the track needs:

CLEAN keeps the processing polished and transparent.

BALANCED adds the ideal combination of punch, glue, and color.

BOLD pushes the density and harmonic character harder for a more aggressive finish.

Engage the adaptive LIMITER and raise the LIMIT control until your mix reaches the loudness you want.

24K was designed to shine on the master channel, but it can also bring extra punch and cohesion to drum buses, synth groups, vocals, instruments, and individual sounds.

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Cymatics.24K.1.4.0  ( 28 MB )

4.82 MB / 12.63 MB

One sidechain plugin with four engines: a ducker that follows your kick, a tempo-locked volume shape you can draw, audio-rate ducking straight off the trigger’s waveform, and a spectral carve that only takes the bands the sidechain is using.

Four sidechain engines in one plugin, each solving the same problem a different way: getting your bass, pads and vocals out of the kick’s way.

DUCK: follows the signal
A ducker with 5 ms lookahead that reacts to what your kick actually does: its level, its timing, its groove. Attack, Hold and Release shape the response; Peak, ISP or RMS detection decides what “loud” means. Range goes past 100%, so quieter hits still duck hard. With nothing plugged into the sidechain it becomes a limiter against the threshold.

LFO: locked to the clock
Volume automation that ignores the sidechain entirely: a shape locked to host tempo, from 4/1 down to 1/32, that pumps identically every bar whether or not a kick plays. Saw, sine, triangle, square — or draw your own curve with breakpoints and bendable segments, snap it to the grid, and watch the playhead run through it. Trigger from the beat grid, or restart the shape on any MIDI note.

RING: sample-accurate, no lag
Audio-rate ducking: the trigger’s own waveform, rectified, becomes the gain.
No envelope follower means no attack or release lag — the input is driven down on the exact samples the trigger peaks on. Smooth rounds the edge when the zero-crossings get crunchy. Source switches between the sidechain and an internal oscillator.

CARVE: room in the spectrum, not the fader
Instead of turning everything down, a third-octave filter bank listens to the sidechain and cuts only the bands it is actually using. The two stop fighting over the same frequencies while the rest of your input keeps its level. Tilt weights the carving toward highs or lows; Smooth shares a cut with neighbouring bands.

WHAT’S IN IT
– Stereo sidechain bus, with a Stereo control from fully linked to each channel following its own side
– Mix and Output on every mode
– 5 ms lookahead, reported to the host and compensated — it never changes, so your host never restarts the plugin mid-session
– Every control is a host parameter, automatable by name; the drawn LFO shape saves with the project
– A level scope showing the input and the gain being applied to it

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Cider.0.1.0  ( 17 MB )

1.31 GB

Unirock Cherry LPS is a clean-DI, physically modelled dual-humbucker electric-guitar instrument for Windows VST3 and Standalone.

Installation
Run Pro2Max_Unirock_Cherry_LPS_Setup_1.0.0.exe and select a folder for the sample library when prompted. The installer records that location for both the VST3 and Standalone editions, so the library can live on any drive.

Use
Load the VST3 in a 64-bit Windows DAW, or launch the included Standalone application.
Select pickup position with keyswitches: C-1 Bridge, C#-1 Both, D-1 Neck.
Select articulations with C0-G#0. Pick scrapes use F#-1 (short) and G-1 (long).
The Settings panel contains output trim, Auto Sustain, articulation controls, and MIDI pitch-bend range.
The hybrid sample library is used where its rendered state matches the performance. Dynamic playing, alternate pickup states, note releases, pitch bend, slides, and unavailable sample variations remain on the physical engine.

Requirements
Windows 10 or later, 64-bit VST3 host, and at least 1.5 GB of free space for the sample library.

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Unirock.Cherry.LPS.1.0.0.part1  ( 700 MB )

Unirock.Cherry.LPS.1.0.0.part2  ( 630 MB )

52.7 MB

Free Bus Compressor with Multi-Instance Control. Bring a mix together, give drums more punch, or blend in a little extra density. An independent take on British console bus compression — with connected control across your Gluon instances.

Open Gluon Map from any instance to see the settings and levels of connected instances. Adjust them individually, or use Global Control to make relative changes across them — lower every threshold by 1 dB, for example — without opening a pile of plugin windows. Remote controls and meters work even when those windows are closed.

Press Learn and play ten seconds of your material. Gluon compares the input with the compressed blend and sets a fixed MakeUp gain to bring their perceived levels closer. The gain then stays put while you listen and fine-tune.

The independent output stage offers Hard Clipper, Soft Clipper and Limiter modes, with Off / 2× / 4× / 8× oversampling. You can use it with or without the compressor.

You also get:
– Expanded attack, ratio and release choices, including Auto release.
– Dry/wet mixing and adjustable compression range.
– External sidechain, HP/BP/LP sidechain filters and stereo link.
– A/B comparison, Undo/Redo and user presets.
– Five factory presets as starting points.
– Light and dark themes, with interface scales from 0.75× to 2×.

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Gluon.1.0.0  ( 53 MB )

33.1 MB

Simple, easy to use passive tone and body control plug-in! While passive design causes around 20dB gain loss, covered with clean boost. No non-linear elements to color your signal. Fully passive tone control!

FEATURES
– TONE : Odd shaped, high-shelf like tone control. Will make your source darker or brighter
– BODY : Shapes low-mid and mid frequencies. Will add or remove body from source
– OUTPUT : Clean output control
– I/O : Bypass

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ToneShaper.1.0  ( 33 MB )