9.30 MB

Grizzly is a stereo modulation effect modelled on the 1979 Gristleizer circuit. An internal LFO drives a modelled JFET stage that either ducks the amplitude of your signal or sweeps a lowpass filter across it. It is designed to behave a little like the original pedal did — not quite predictable, with a texture that changes depending on what you feed it.

Place it on anything: drums, guitars, synths, vocals, whole busses. No presets, no menus. Ten knobs and a bypass.

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Grizzly.1.0.0  ( 9 MB )

72 MB

Threshold? Never heard of her.
Sabotage is a feedforward FET compressor built on the same philosophy as a certain legendary 1176 style beast: no Threshold knob, no mercy. You just shove your Input up until the detector screams, and the compressor does the rest exactly like the hardware that made engineers develop a healthy fear of a single red button.

Five ratios (2:1 through 20:1), plus the one every 1176 clone secretly exists for: All Buttons In. Push all the buttons, break the laws of physics, make your drum bus sound like it’s holding a grudge.

What’s inside

Feedforward FET detection Input drives the detector directly, like the real thing

2:1 / 4:1 / 8:1 / 12:1 / 20:1 / All Buttons In pick your level of chaos

Sidechain High-Pass because nobody needs the kick drum triggering compression from three rooms away

Dynamic FET Coloration gets nastier the harder you push it, on purpose

THD stage with Clip / Limit an extra knob specifically for people who think “too much” is a starting point

Analog-style VU metering IN / GR / OUT, because staring at a needle is 90% of mixing anyway

Who it’s for

Mastering engineers who want glue. Mix engineers who want punch. Everyone else who just wants to watch the needle slam and feel something.

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Sabotage76-1.1.3.WIN  ( 72 MB )

Sabotage76-1.1.3.MAC  ( 27 MB )

YS Stereo Makeup

24 MB

YS-Stereo Makeup is an audio plugin for shaping the stereo field and adding ambience to a signal. It is designed for use in a DAW on individual tracks (instruments, vocals, groups) or on subgroups and the master bus. It provides multi-band control over width, phase relationships, and stereo depth, with Mid/Side processing, built-in light reverb, and quick configuration search tools. —

Processing Architecture

**Four-way crossover structure**: the frequency spectrum is divided into 4 bands by crossovers; each band is processed independently.
**Narrow Mode (2 Narrow Bands)**: Three of the four bands (Wide) can be further divided into two narrower frequency sections; one section is sent to the left channel, the other to the right, creating a psychoacoustic widening effect without significantly changing the timbre.
**Bass Band**: Wide-stereo / Mono switch; Mono+Bass mode additionally affects the direct (Dry) signal, allowing you to keep the low-frequency foundation in the center and avoid mono compatibility issues.
—
Phase processing

**Phase Shift**: A phase shift effect is added to the signal in parallel – left channel: -90°, right channel: +90°.
**Control modes**: adjust the effect separately for the left/right channels or in Mid/Side mode (Mid is the central channel, Side is the side channels).
**Purpose**: Correction of width, creation of spatial effects and control of phase coherence without radically changing the spectral balance.
—
Depth and width control

**Haas Control**: Adds delay in the range of 0-30ms to enhance perceived depth; used as a tool for shaping stereo “depth” without greatly widening the width.
**Wide**: Adjusts the volume of the Side channels of the original (Dry) signal.
**Side**: Adjusts the volume of the side channels of the processed (FX) signal.
**FX**: Global effect amount control, preserving the relative ratios of the parameters set on the individual bands.
—
Output level and monitoring

**Gain**: LUFS-based overall output volume control; designed for integration into professional mixing chains with long-term loudness control.
**Mute Dry / Mute FX**: Separate mute buttons for the dry signal and effect for A/B comparison and processing contribution assessment.
**Mid/Side Monitoring**: The FX monitoring buttons allow you to listen to the Mid and Side FX channels separately; useful for identifying phase issues and checking mono compatibility.
—
Built-in reverb

**Verb (Feedback)**: Adjusts the reverb duration (decay time).
**Vol**: Adjusts the volume of the reverb.
**Purpose**: Light spatial processing for “gluing” the stereo field or gently expanding the atmosphere without the need for a separate reverb plugin.
—
Level indication (VU meters)

White VU meters display the signal level in the left and right channels (L/R). They allow you to monitor peak and average dynamics across stereo channels and make timely gain adjustments to avoid clipping.
Green VU meters display the level of the center (Mid) and side (Side) channels. They provide a visual assessment of the balance between the center and sides, help identify excessive stereo widening or center gaps, and assess mono compatibility.
—
Controls and ease of use

**On/Off per band**: Separate switch for each band, allowing you to isolate the influence of a specific frequency area.
**Random**: Generates a random combination of settings to quickly try out options and find the right configuration.
**Reset**: Reset all parameters to factory values.
**Presets**: Save all processing settings, as well as custom band names and colors; ensure quick loading of proven configurations and easy project navigation.
— *Universal VST3 plugins may not be scanned by some DAWs. To solve this problem, on Windows, delete the “MacOS” folder inside the VST3 plugin. On MacOS, delete the “x86_64-win” folder inside the VST3 plugin. The YS – Stereo Makeup (L) version is lightweight, puts less load on the processor, and has no latency to compensate for. It has no phase shift, only a Haas delay. Only this lightweight version is compatible with MacOS.

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YS.Stereo.Makeup.1.0.1.WIN  ( 12 MB )

YS.Stereo.Makeup.1.0.1.MAC  (12  MB )

79/142 MB

The shortcut to bigger, more upfront vocals.
VxBx combines the essential processing needed to clean, control, and push vocals home recorded vocals forward, giving you bigger, more aggressive vocals without building a complicated plugin chain.

VxBx – Vocal Processor

Make your vocals bigger, more upfront, and mix ready with one simple tool.

VxBx combines the essential vocal processing behind professional mixes into one streamlined tool, helping you clean up, push forward, and finish vocals faster without rebuilding the same plugin chain every session.

Everything Your Vocal Needs Before You Start Mixing

Five ways VxBx helps raw recordings sound cleaner, bigger, and ready to build a professional mix around.

Remove distracting room noise before it snowballs through the rest of your vocal chain, giving every processor a cleaner signal to work with.

Push vocals forward with an aggressive analog-inspired processor that adds control, energy, and attitude without sounding crushed.

Give screams, shouts, and rock vocals the grit and excitement they need to cut through dense productions without reaching for another saturation plugin.

Drop in polished delays, reverbs, radio filters, and creative effects that sound inspiring from the first click, with built-in filtering to keep your mix clean.

Replace a complicated vocal chain with one intuitive plugin and start every mix with vocals that already feel bigger, clearer, and ready for the record.

Everything Your Vocal Needs. Already Built In.

VxBx combines the essential processing behind a professional vocal chain into one streamlined plugin, so the moment you insert it, your vocal already feels cleaner, bigger, more controlled, and ready to mix.

Recording a great vocal is only half the job. The real magic happens in the processing that makes it feel like a finished record.

Whether you’re tracking vocals in a bedroom studio or a professional room, plugging a microphone straight into an interface almost never delivers the sound you hear on your favorite records.

Professional vocals aren’t created by accident.

They’re built through layers of compression, saturation, tone shaping, noise cleanup, and effects that help the vocal sit naturally inside the mix.

Push Vocals to the Front of the Mix Without Crushing Them

Inspired by the aggressive vocal chains used on modern rock and metal records, Spank gives vocals the control, weight, and attitude they need to stay front and center.

Every professional vocal chain has one job above all else—make the vocal feel like it’s sitting confidently in front of the band.

That’s rarely achieved with compression alone.

It comes from carefully combining dynamics, harmonic color, tonal shaping, and years of engineering decisions into a chain that simply makes vocals feel finished.

At the heart of VxBx is Spank—a custom vocal processor that blends aggressive compression with analog-inspired saturation, tonal shaping, and proprietary processing working behind the scenes. Instead of juggling multiple plugins to make vocals sit in the mix, a single control lets you dial in more consistency, presence, and forward energy until the vocal feels exactly where it belongs.

Start With a Cleaner Vocal Before You Process Anything Else

Reduce room noise, computer hum, and headphone bleed before they snowball through the rest of your vocal chain.

More musicians are recording vocals in bedrooms, rehearsal spaces, Airbnbs, and home studios than ever before. Even with a great microphone and performance, unwanted room noise and background hum can quickly build up as compression, saturation, and effects are added.

VxBx starts with an intelligent Noise Suppressor that cleans up the noise floor before the rest of the vocal chain gets to work. By feeding every processor a cleaner signal, your vocals stay clearer, more focused, and more professional without constantly fighting unwanted background noise.

Give Your Vocals the Attitude Modern Records Demand

Add harmonic bite, grit, and excitement that helps screams and aggressive vocals cut through dense mixes without sounding harsh or overprocessed.

Modern rock and metal vocals need more than compression to stand in front of walls of guitars and massive drums. They need harmonic energy that gives every scream, shout, and chorus the urgency and aggression listeners expect from a finished record.

The Aggro circuit was designed around the harmonic saturation techniques engineers use to bring excitement back into heavily compressed vocals. Push it subtly for extra edge and presence, or drive it harder to give screams the grit, vibrance, and attitude they need to stay front and center without disappearing into the mix.

Create the Vocal Moments People Remember

From classic radio vocals to wide, haunting textures, VxBx gives you the signature effects that turn ordinary recordings into unforgettable performances.

Some of the most memorable vocal moments aren’t the lead vocal—they’re the textures layered around it.

The filtered intro that grabs your attention.

The eerie background vocal that makes a chorus feel bigger.

The lo-fi breakdown that gives a song contrast.

VxBx includes two classic Radio effects alongside Spooky, a custom modulation effect designed to create wide, unsettling vocal textures in seconds. Use them individually or stack them together to build unique vocal moments without leaving the plugin.

Create Bigger, Wider Vocals Without Building an Effects Chain

Everything you need to add depth, width, movement, and space is already built in, so your vocals feel inspiring from the very first insert.

The best vocal effects aren’t there just to be heard—they’re there to make a performance feel larger than life.

Whether it’s a subtle slap that keeps the vocal locked in the center, delays that fill the space between phrases, or reverbs that make the vocal feel like it’s living inside the record, every effect has a job to do.

VxBx brings together the essential vocal effects engineers reach for every day in one streamlined section. Slap adds a tight mono slapback that gives vocals depth while keeping them upfront. Delay A delivers an 1/8-note repeat for rhythmic movement, while Delay B provides a wider 1/4-note delay that can be paired with Shifter to introduce subtle pitch modulation and stereo width. Choose between a classic Plate Reverb for polished vocal ambience or a larger Room Reverb for bigger, more spacious productions.

Every effect also includes its own dedicated high-pass and low-pass filters, letting you shape exactly how much low end and top end sits in the effect, so your vocal stays clear, focused, and perfectly balanced without opening another plugin.

DAW Support
AAX, AU, VST3 versions
64-bit only
Ableton Live 11+ (Mac & PC: AU, VST3)
Bitwig 4+ (Mac & PC: AU, VST3)
Cubase 13+ (Mac & PC: VST3)
Digital Performer 11+ (Mac & PC: AU, VST3)
FL Studio 23+ (Mac & PC: VST3)
Garageband 10+ (AU)
Logic Pro 10+ (AU)
Pro Tools 12+ (Mac & PC: AAX)
Presonus Studio One 5+ / Fender Studio (Mac & PC: AU, VST3)
Reaper 6+ (Mac & PC: VST3)
Cakewalk Next by BandLab (PC: VST3)

System Requirements
AAX, VST3, AU versions included
64-bit only (Mac / PC)
Mac OS X 10.15 or higher (Intel native | ARM native)
Windows 10
At least 4GB of RAM, 16GB is recommended
At least 200MB of free drive space (OS drive)

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VxBx.1.0.7.WIN  ( 129 MB )

VxBx.1.0.7.MAC  ( 142 MB )

42.5 MB

Analog gear, simulated from the circuit up. Most “analog modeled” plugins are a snapshot: measure the hardware, fit some curves, ship the curves. These solve the actual circuit while your audio runs through it. The tube bias shifts when you hit it hard. The transformer core saturates from flux, so it cares about frequency, not just level. The opto cell remembers what you played ten seconds ago. Nothing is drawn on; if a meter moves or a curve bends, something in the circuit did it.

And since the whole circuit is in there, you get the screwdriver too. Every module has a rear panel with the service trims the hardware kept locked inside: supply draw, bias, transformer headroom, tube swaps. Set them to factory and it behaves like a well-kept unit. Or don’t.

The lineup
WD Opto — optical tube compressor in the LA-2A bloodline. The photocell is the real thing: two time constants, program-dependent memory, that slow settling tail. Two voicings (tube WD-2A, solid-state WD-3A) plus drive and iron controls the original never gave you.

WD Mu — variable-mu compressor built around a simulated 6386 push-pull stage and the classic six-position time-constant bank. No threshold knob, because the circuit doesn’t have one; you drive it and it leans back. Bias knob on the front, mismatched tube pairs on the back.

WDTec — passive tube EQ, program and midrange sections in one wide module. The boost you can’t get wrong, with a twist: the filter inductors have live magnetic cores, and a Core knob sets how hard you push them.

WD Tape — a full tape machine. Record head, bias oscillator, reproduce head, all of it, aligned by the same procedure a tech would use on the hardware. Two stock formulations. Every unit number ships with its own transport quirks.

WD XQ — one parametric EQ, five circuits. Precision digital, two console flavors, a stepped American classic, and an inductor design from 1973. The knobs stay put while the circuit underneath changes what they’re allowed to do. Dynamic bands on all five.

WD FET — FET compressor with four circuit laws in one box: the 76 everyone reaches for, a crushed 760 sibling, a germanium path, and a clean precision law. The ratio network is solved from the 1176LN drawing, so all-buttons works because the circuit does it, not because we faked the curve. Attack is measured in microseconds.

WD VCA — stereo bus compressor built around one Blackmer-style gain cell. Two detector brains: Console Bus leans the whole mix back the way the famous desk compressor does, RMS Punch is for the drum bus. Auto release, over-easy knee, and the RMS detector’s attack table falls out of one capacitor, same as the hardware.

WD Duress — a curve-family compressor in the Distressor spirit. Every ratio position is its own engineered curve: 1:1 is warm-up distortion with no compression at all, 10:1 borrows an opto release with a twenty-second tail, and Nuke is a log-release brickwall. Three distortion modes, two stereo link laws taken from the block diagram, and a British Mode switch that overrides the envelope the way all-buttons abuse does.

WD Pre — five preamps behind one gain knob. Precision digital wire, a Class A British console with its iron, an American op-amp console, a German broadcast valve, and a cassette 4-track desk channel. Gain redistributes the circuit, so every detent is a slightly different amplifier; output is only a fader after the iron.

WD Echo — tape loop echo where the loop is real enough to have a splice. Motor-driven transport, three repro heads, spring tank. Repeat rate is a motor, not a delay dial: turn it and everything already on the loop bends with the transport. The time arrow reads the tape forward, palindrome, or straight-up backward.

WD AX — the exciter, built from the patents instead of around them. It adds a generated sideband rather than boosting EQ, so the fundamental never moves. The Big Bottom section lifts the decay of a note instead of its hit: sustain without the overload penalty.

WD Rack — the chassis. Put it on your master bus, give your modules the same frame number, and suddenly they’re screwed into the same box: shared power supply that sags when a neighbor works hard, adjacent-slot bleed, a slot map you can reorder. Crank the crosstalk and the rack becomes an effect of its own. Skip it entirely and every module runs clean standalone.

WD Strip — a console channel in one window: preamp into EQ into compressor, a model selector on each stage. Any of the five Pre laws, either EQ, any of the four compressors. All three stages hang off one power rail inside the same process, so the compressor’s knee moves when the preamp leans on the supply. No rack required.

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Werewolf.Dynamics.0.6.0  ( 103 MB )

31 MB

Fogbank is an expander and multiplier plugin designed for expansive and dynamic sound design. Its four macros, six monophonic modulators, six polyphonic modulators, and three serial effect slots give you the power to duplicate your sound and decide how each copy behaves.
We built Fogbank for KVR’s 2026 Developer Challenge. Check it out here.
Available as VST3/CLAP for Windows, AU/VST3/CLAP for Apple Silicon MacOS Ventura and above, and VST3/CLAP for Linux.

Distinct Duplication
Fogbank takes your sound and duplicates it up to sixteen times, applying different effects along the way. Use the plugin’s six monophonic modulators and six polyphonic modulators to fine tune how each effect is applied between each duplicated voice.

Polyphonic Modulation
Fogbank’s unique polyphonic modulation scheme lets you create cohesive differences in each voice. This means that although each voice is unique, they still work together to achieve your desired sound.

Each point on the slider’s visualizer corresponds to that parameter’s value for a single voice. Point movements along the slider edge quickly link the sound to something you can see.

Complex Transformations
Start with an initial shape and apply a combination of modulatable transformations to it. Visual patterns correspond to audible gestures in your sound giving you a complex but surprisingly intuitive sound design tool.

Expressive Modulation
As always, modulations in Fogbank are extremely flexible. Link each modulator to the next. Control everything with macros. If you can dream it up you can make it happen.

The modulation visualizer overlay gives you a quick idea of exactly how your plugin is moving. Which parts of your sound come from where? Where should you look to adjust an aspect of you sound? Fogbank makes finding out trivial.

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Fogbank.1.0.1  ( 20 MB )

15 MB

YS-Mobile Bass — a plugin for adapting bass to mobile devices. YS-Mobile Bass is a specialized tool for preparing bass lines for listening on smartphones, tablets, and other devices with a limited low-frequency range. The plugin helps preserve rhythmic clarity and bass body where low frequencies inevitably get lost, through harmonic adjustments in the lower midrange—without artificially boosting the low frequencies.

Key Features

Bass Mono: A monophonic bass mode with a frequency range of 20–250 Hz. This control preserves the low-frequency component only in the center (mono) channel, removing it from the side channels. This improves bass stability and clarity on any playback system, including headphones and compact speakers.

**Harmonic toggle switches for rhythmic support**:
**63**: Adds a second harmonic to the center channel at ~126 Hz, -18 dB below the 63 Hz band. Allows you to preserve the rhythmic bass pattern on mobile devices.
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**125**: Adds a second harmonic to the center channel at ~250 Hz, -18 dB below the 125 Hz band. Improves rhythm intelligibility in low-frequency-limited environments.

**250**: Adds a second harmonic at ~500 Hz, -31 dB below the 250 Hz band. Provides subtle lower-midrange support without overwhelming the mix.

**Total Energy Control**: When switches 63, 125, and 250 are simultaneously engaged, the total energy in the lower midrange increases. For most situations, activating just one switch is sufficient—this avoids excessive density in this range.

Output volume fader (±6 dB) with VU metering (white LEDs): precise adjustment of the final signal level. The VU meter helps keep the level within the “working zone” and avoid clipping downstream.

**Harmonics Volume Fader (±6 dB) with VU metering (green LEDs)**: separate control over the added harmonic energy. This allows for subtle balancing of the “rhythmic signature”—either enhancing it in a dense mix or, conversely, making it barely noticeable.

Recommendations for use

*Processing Chain Positioning**: The YS-Mobile Bass section should be placed **before* the overall saturation. This ensures that the harmonics added by the switches will be properly processed by subsequent stages of the chain (including saturators), rather than being overloaded or masked.
**Practical approach**: Start with Bass Mono and one of the toggle switches (63 or 125 are often optimal). Choose the combination by ear, based on the target playback system—for example, typical mobile speakers.
**The point of harmonics**: It’s important to understand that the added harmonic will, by default, be 18 dB below the target level. This means it won’t add any “meat” to the midrange, but will merely provide a subtle rhythmic shadow. This isn’t about “making it thicker,” but rather about “leaving a trace of rhythm” where the headphones can still hear something. Using the harmonics volume fader, you can carefully adjust this balance without ruining the original idea of ​​a subtle backing.
**Working with levels**: Use the VU metering to keep the output level in a comfortable zone and ensure it doesn’t “fall out” of balance in the overall mix. White LEDs provide a clear picture of the main signal, while green LEDs separately indicate the contribution of harmonics, making them convenient for quick adjustments.
**Compatibility with Mixing Methods**: The plugin works well with approaches that emphasize a clear rhythmic foundation in the bass (including those stylistically close to folk rock and acoustically oriented mixes). It can be used as part of a mixing template, where levels and frequency accents are pre-calibrated to references.

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YS.Mobile.Bass.1.0.0.WIN  ( 6 MB )

YS.Mobile.Bass.1.0.0.MAC  ( 9 MB )

4.55 MB

Real-time glitch, stutter & texture engine for producers who don’t wait for the drop — they detonate it. Six glitch modes, fully automatable, tempo-synced. Completely free.

What is Glitch in Time?
Glitch in Time is a free VST3 glitch plugin for Windows that lets you apply real-time glitch, stutter, crush, and scatter effects to any audio source inside your DAW. Whether you’re producing electronic music, hip-hop, experimental, or sound design, Glitch in Time gives you six distinct glitch engines — all tempo-synced, all automatable, all free.

Unlike traditional glitch tools that work destructively, Glitch in Time processes audio in real time. You can fire glitch effects mid-performance, automate every parameter, and MIDI-map every knob for live control. It also includes a resonant metafilter with auto-wah, bit crusher, granular delay, and 4-band spatial width control — making it a complete glitch and texture processing suite in a single plugin.

Features:

6 glitch modes
Stutter · Crush · Modulator · Gater · Stretcher · Scatter

Tempo-synced
Lock rate to 1/2 · 1/4 · 1/8 · 1/16 · 1/32 notes

Metafilter + auto-wah
LP/HP/BP · LFO · envelope-follower auto-wah

Bit crusher
Clean 16-bit down to gritty ~1.5-bit

Granular delay
Pitch, spray & feedback controls

4-band spatial width
Stereo-width + auto-panner per band

Full automation
Every knob automatable & MIDI-mappable

MIDI trigger
Fire glitches & play the buffer from MIDI notes

System Requirements:

Format
VST3 (64-bit)
Standalone application

Compatible DAWs
Ableton Live
FL Studio
Reaper
Cubase / Nuendo
Studio One
Bitwig Studio
Any VST3 host

System
Windows 10 / 11
64-bit only
~5 MB download
Intel or AMD CPU

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GlitchInTime-1.1.0  ( 4.55 MB )

27.8 MB

Get Ready to Rock. Two Independent Tape Machine Channels.

Every Track Gets the Iron. Push the REC and feel it grab. That is what tape does – not just warmth, but weight. Notes get a shape to them. Peaks round off the way physics rounds them, not math. Transients breathe. The whole track sits differently when it has been through iron. Iron Deck puts that on a channel insert. Two fully independent channels. Free.

The REC knob is how hard you hit the tape. At 9 o’clock it barely touches the circuit – a light pass of even-harmonic warmth. At noon you hear it grab. Past noon the tanh-based saturation and the soft-knee RMS compressor behind it are both working, and the track starts doing what a track sounds like when it was actually recorded to tape. Odd-harmonic content builds alongside the even-harmonic base. The compression is not an audible compressor effect – it is the natural program-level control the machine exerts when you push it. REP is output level, post everything. Drive the iron as hard as the track can take, then bring it back where it needs to be.

Three signal path modes change the fundamental tonal character. REPRO is the full reproduce head path: IEC or NAB playback EQ active, complete tape coloration from the REC drive. This is the mode when you want the track to sound like it came off a reel. INPUT is the record amplifier path – clean and transparent at moderate drive, only adding subtle character at high REC settings, for sources that need handling without transformation. SYNC captures the sync head monitoring character: a mid-forward EQ curve with slight top-end compression, the sound engineers heard through the sync head while recording overdubs. Each mode has a distinct tonal identity and each one responds differently to the REC drive.

The IEC/NAB switch selects the playback EQ curve across all three modes: IEC for top-end clarity and a leaner low end, NAB for more low-end weight and warmth – the classic American tape character. Tape Speed adjusts LF/HF shelving matched to the IPS setting: 7.5 IPS adds mass and softens the top end, 30 IPS lifts the HF and opens the character up. BIAS trims above and below nominal – counter-clockwise into under-biased territory brightens the character and increases third-harmonic content, clockwise into over-biased softens the top end and shifts the balance toward even-order warmth. HF TRIM is a final independent shelving low-pass that rolls off the top end separately from bias and tape speed.

Both channels are completely independent – not just linked stereo, two separate machines that happen to share an enclosure. REC, REP, BIAS, HF TRIM, TAPE SPEED, IEC/NAB, and REPRO/INPUT/SYNC all have their own state and DSP path per channel. Run them identically for a matched stereo pair. Drive one harder than the other. Set channel one to NAB and channel two to IEC. Use SYNC on one side and REPRO on the other. On a mono track the left channel activates and the right panel goes dark – one tape machine, no settings to change. The DAW bus configuration drives the channel count automatically.

Features
– REC – Input drive into the tape saturation and RMS compression stage, per channel.
– REP – Output level, post all processing, per channel.
– Tape saturation – tanh-based soft transfer, even-harmonic dominant at moderate drive, odd harmonics build as REC increases.
– Tape compression – soft-knee RMS, 1.5:1 ratio, ~2ms attack, ~100ms release. Acts as glue, not an audible effect.
– REPRO / INPUT / SYNC – three signal path modes with distinct EQ curves and saturation character.
– IEC / NAB – selectable playback equalization curve, active in all three modes.
– Tape Speed – 7.5, 15, and 30 IPS with matched LF/HF shelving per setting.
– BIAS – under/over bias trim adjusting harmonic balance and HF shelf character.
– HF TRIM – final shelving low-pass, independent of bias and tape speed.
– Dual VU meters – one per channel, post-REP, calibrated needle ballistics.
– Fully independent dual channels – every parameter per-channel, no inter-channel linking.
– Mono/stereo automatic – DAW bus configuration determines channel count.
– Factory presets including “Hitting It Hard” default.
– VST3 on Windows and Linux. VST3 + AU on macOS. Universal Binary (Apple Silicon + Intel).

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Iron.Deck.1.0.0  ( 28 MB )

80 MB

Turn a single note into a living soundscape. Voyage Voyage is a freeware Shimmer Reverb built around an analog BBD chip delay emulation – ethereal pitch-shifted tails meet dark, grainy analog repeats that slowly dissolve into the mix. Push it further and it becomes an instrument of its own: an infinite drone and texture generator for ambient beds, cinematic tension and evolving sound design, using its self-oscillation and resonator capabilities.

A Shimmer Reverb and a Drone Machine, designed for the KVR Developer Challenge 2026, available for Windows, macOS and Linux with VST3/AU/CLAP formats.

Main features:

classic decay, tone, mix, input, output, low cut and high cut controls, as expected in a reverb plug-in.
Shimmer amount & pitch control, with an additional delay time control featuring the BBD chip emulation.
innovative Exciter & Chaos parameters, useful when Voyage Voyage is in self-oscillation / resonator / generation mode
more than 50 presets in 6 categories: delay, reverb, spacecraft, submarine, textures, and miscellaneous.
as usual with Musical Entropy products, resizing capabilities, integrated help, extra accessibility functionalities, embedded tutorial, mix lock control, easter eggs etc.

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VV.1.0.1  ( 81 MB )