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 )

43/211/144 MB

Air-G Plugins Collection is a collection of VST3 audio plugins built on the open source work of Airwindows, Chris Johnson’s ongoing project that has been releasing some of the most respected free DSP algorithms in the audio world. The collection started from a simple idea: take some of those algorithms and present them with a custom graphical interface that makes daily work more comfortable and visual. Not to replace or improve on Chris’s code, but to build on it: adding meters, displays, presets, and complementary controls that expand the possible uses without changing the underlying sound. The simplicity and lightness that characterize Airwindows are the starting point and the guide behind every design decision.

Depending on the tool, each plugin adds some combination of real-time level and gain reduction meters, interactive displays showing the actual frequency response, presets organized by instrument and use case, M/S processing, parallel compression controls, DAW tempo sync, sidechain filters, animations that reflect the state of the processing, and A/B comparison controls. All designed to make the Airwindows sound easier to explore and integrate into a real workflow.

The collection covers five areas:

Compression and dynamics: four compressors with distinct personalities — Pop! for transients and punch, Pulse for gluing buses and full mixes, Velvet for soft cohesion and spatial depth, Volt for the bus with a range that goes from transparency to envelope distortion. All four have a Mini version: same engine, compact 500-series rack module-style interface.

Clipper and de-esser: Clip combines two clipping modes in a single plugin with Delta monitoring. Dess detects sibilance by waveform shape rather than frequency targeting, with unusual precision on vocals and bright material.

Equalization: EaseQ is a four-band EQ with wide, musical Bezier curves, an interactive display, and an AIR button. Prism is a six-band graphic EQ with fixed frequencies, strong inter-band isolation, and draggable nodes.

Tape saturation and time effects: Tape is the full tape emulation, with head bump, flutter, three-band EQ, and 48 presets. Taped is the focused saturator, warmth and high-frequency compression with M/S processing. Taped Mini is its compact version. Echoes is the varispeed tape delay with DAW tempo sync and an HPF in the feedback loop. Mods brings four modulators (Chorus, AutoPan, Tremolo, Vibrato) into a single selector.

Reverb: Spaces brings together 16 reverbs from Airwindows’ k-series in a single plugin: rooms, halls, plates, chambers, and imaginary spaces, with Pre Delay and HPF always available and four memory slots for instant comparison.

Every plugin comes with a manual in both Spanish and English, written in musical language without technical jargon.

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Air-G.Plugins.1.0.0.WIN  ( 43 MB )

Air-G.Plugins.1.0.0.MAC  ( 211 MB )

Air-G.Plugins.1.0.0.LINUX  ( 145 MB )

731 MB

KG SERIES: Free Plugins for Artists Breaking the Barrier of Cost
The KG SERIES is a free plugin project designed to enable all artists to make music without the burden of financial cost.
Whether you’re a beginner or a professional, we aim with this project to support creative freedom by removing the barrier of cost, allowing everyone to focus purely on the art of music-making in an equal environment

Love the sound of analog but no space on the racks? Check out the KG SERIES.

These products are designed using a proprietary signal processing engine and simulator, developed to precisely replicate the circuitry and component characteristics of real analog audio equipment. By closely analyzing the electrical properties and interactions of individual components such as transistors, diodes, capacitors, and condensers we aimed to reproduce the true behavior of analog circuits as they function in the physical world.

Moreover, by replicating hardware-level logic in a digital environment, we are able to capture the responsive and warm sound unique to analog gear.
​By utilizing a node based circuit design approach, we intuitively modeled signal flow, allowing us to faithfully reflect the sonic characteristics established during the circuit design stage of analog audio processing.

KG-EQP: Analog-Style Equalizer for Warmth and Depth v1.0.0.3
KG-EQP is an analog-style equalizer designed to add warmth and depth.
It features an intuitive layout that allows independent control of the low and high frequency bands.
The Low Frequency section uses a CPS knob to select the target frequency. With the BOOST and ATTEN knobs, you can enhance low-end richness or smooth out unwanted bass frequencies.
The High Frequency section uses a KCS knob to select the desired high-end frequency. Similarly, the BOOST and ATTEN controls allow you to add clarity and airiness, or soften harsh highs.
Even with minimal adjustment, this plugin infuses your sound with the vibrant, analog character that can bring your audio to life.
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​KG-FREQ6: 6-Band Equalizer for Total Sound Control v1.0.0.2 (Coming soon to 1.0.0.3)
KG-FREQ6 is a 6-band equalizer that allows for complete control over one’s sound.
The first band is a LOWSHELF filter, ideal for smoothly shaping the entire low-frequency range.
The next four bands are peaking filters with FREQ and Q knobs, allowing precise control of frequency and bandwidth for detailed tonal shaping.
The final band features a HIGHSHELF filter, designed to gently enhance the high-frequency range, adding clarity and air to the sound.
Each band includes a Gain knob with a wide adjustment range of ±24dB, giving the flexibility needed for both subtle and dramatic tone sculpting.
With its intuitive interface and powerful features, KG-FREQ6 delivers outstanding performance across all music genres and production environments.
​
KG-SUB: Smooth Analog Sub Enhancement Plugin v1.0.0.1
KG-SUB is a smooth analog-style low-end enhancer designed to add depth and presence to one’s music.
The SUBFIRE knob controls the amount of sub-bass, giving the mix a deeper and more powerful low-end.
The X-OVER knob lets one select the frequency range where the enhancement is applied, allowing precise targeting of the sub frequencies.
The DELAY knob introduces a slight delay to the enhanced sub signal, blending it naturally with the original audio for a smooth, cohesive result.
With these three intuitive controls, KG-SUB helps achieve a warm and powerful bass tone, making it an ideal tool for mixing and mastering.
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​​KG-CLARITY: Bring Your Mix to Life v1.0.0.1
KG-Clarity is a plugin designed to breathe vibrancy and clarity into one’s music.
The Clarity knob is a precise tool for adding definition and crispness into the audio.
The X-OVER knob allows for precision in choosing the frequency range where the clarity enhancement is applied, targeting only the areas that need brightening.
The Delay knob introduces a subtle timing offset, blending the enhanced signal smoothly with the original audio for a more natural and transparent result.
With these three intuitive controls, KG-Clarity adds sparkle and fine detail, making it an ideal tool for refining mixes with a polished, professional sound.

KG-COMP: Dynamic Control Compressor with a Warm Analog Feel v1.0.0.1
KG-COMP is an RMS compressor that delivers smooth dynamic control and warm analog character to any track.
The THRESHOLD, RATIO, ATTACK, and RELEASE knobs allow for fine tuning and precision in the compression settings
The SEC ATTACK and SEC RELEASE knobs introduce dual-stage compression, allowing for more complex and natural-sounding dynamics. Control the frequency range to the compressor with the SC FILTER and subtly shape with the ALPHA knob
Use the DUAL STAGE MIX knob to adjusts the blend ratio between the two compression stages, while the WARM and ANALOG knobs can add a more vintage character and warmth to the sound.
The MAKEUP, INPUT, and OUTPUT knobs provide complete control over gain staging.
KG-COMP is more than just a compressor it’s a powerful tool that brings depth, energy, and life to any mix.

KG-2A: Warm Optical Compressor v1.0.0.1
KG-2A is an analog-style optical compressor that adds warmth and smooth dynamic control to any track.
It features a simple and intuitive interface with three knobs and three switches:
INPUT knob to adjust the input signal level, determining how much compression is applied.
PEAK REDUCTION knob to directly control the amount of compression.
OUTPUT knob to set the output level of the processed signal.
Additional controls include:
SLOW/FAST switch to select the response speed of the compressor.
COMP/LIMIT switch to toggle between compression and limiting modes.
ANALOG switch to activate an analog warmth effect, adding vintage character to the sound.
With minimal controls, KG-2A delivers a rich, musical compression, making it a powerful tool for both beginners and professionals seeking effortless tone shaping.

KG-DEESSER: Transparent Vocal De-Essing Tool v1.0.0.1
KG-DEESSER is a vocal processor designed to gently tame sibilance and harsh high frequencies in vocal tracks.
Use the THRESHOLD knob to set the level at which the de-esser begins
The SENSITIVITY knob adjusts how responsive the processor is to sibilant sounds (like “s” and “sh”).
The GENDER knob provides filter curves optimized for male (M) or female (W) vocals, ensuring more natural results. The SPLIT/WIDE switch allows for the frequency range to be narrowed or widened in places where the de-esser operates. Use the MAGIC knob to reduce harshness while preserve the clarity and presence of vocals.
KG-DEESSER delivers an easy to use, smooth, transparent de-essing—making vocals clearer and more polished.

KG-TUBE: Analog-Style Saturator for Warmth and Depth v1.0.0.2
KG-TUBE is an analog-style saturator plugin designed to add warmth, depth, and vintage character to any track.
The WARM and BRIGHT knobs control harmonic saturation in the low and high frequency ranges, respectively allowing you to enrich your sound with vibrant textures.
Use the FREQ control under the WARM knob to adjust the frequency range in the lows (warmth), while the FREQ control under the BRIGHT knob sets the frequency range in the highs (brightness)
The Central Meter provides a visual representation of the amount of saturation being applied in real time.
The ANALOG switch emulates the subtle distortion and coloration of real analog circuitry, infusing your sound with a warm, vintage vibe.
With its intuitive controls and rich harmonic capabilities, KG-TUBE is a powerful tool that brings life and energy to any mix effortlessly.
​

KG-SATURATOR: 3-Band Analog-Style Saturator Plugin v1.0.0.1
KG-SATURATOR is a 3-band saturator plugin designed to add warmth and rich analog texture to any track.
Use the LOW MID SPLIT knob to set the crossover point between the low and mid frequency bands,allowing for independent saturation control across all frequency ranges.
​Use the MID HIGH SPLIT knob to determine the crossover between the mid and high bands, allowing for independent saturation control across all frequency ranges.
Each band features a SATURATION knob to control the amount of saturation applied.
The WARMTH and TUBE TONE knobs provide fine-tuning of tonal warmth and tube-style harmonic character.
The VINTAGE knob adds coloration reminiscent of classic gear, and the NOISE knob introduces subtle analog noise to induce an authentic analog feel.
GAIN, INPUT, and OUTPUT knobs allow for precise gain staging and signal management.
Allowing detailed control over each frequency band, KG-SATURATOR delivers a vibrant analog sound that breathes life into any mixing or mastering session.

KG-VERB: Analog Reverb Plugin – Natural Space v1.0.0.1
KG-VERB is an analog-style reverb plugin designed to create warm and natural reverberation.
With the ROOM, DAMP, and WIDTH knobs, you can adjust the size of the space, damping characteristics, and stereo width, allowing for a wide range of spatial sound design.
The PRE-DELAY and STAGE-DELAY knobs provide precise control over the onset of the reverb, seamlessly blending with the original signal.
The FILTER CONTROL section includes HPF (High-Pass Filter) and LPF (Low-Pass Filter) knobs to sculpt the frequency range of the reverb tail.
The WARM and BRIGHT knobs allow further tonal shaping by adding warmth or brightness to the reverb character.
The ANALOG switch emulates the behavior of a true analog reverb unit, enhancing the authenticity of the sound.
Use the DRY and WET knobs to freely blend the dry signal with the reverb signal, this allows complete control over the mix.
KG-VERB is more than just a reverb plugin—it’s a powerful tool for adding depth and rich ambience to any track.

KG-ARCL: Transparent Auto-Release Limiter – Smooth Dynamic Control v1.0.0.1
KG-ARCL is an ARC (Auto Release Control) limiter designed to deliver smooth dynamic control and transparent limiting
The INPUT GAIN and OUTPUT GAIN knobs allow precise adjustment of signal levels, helping manage gain staging throughout the mixing or mastering process.
The RELEASE knob sets the time it takes for the limiter to return to its normal state after activation
The ARC knob controls the blend between the manual and the automatic release, allowing users to finely-tune how much auto control is applied.
This unique ARC functionality provides a natural and musical limiting effect that adapts to the source material, reducing the need for constant manual tweaking.
KG-ARCL makes it easy to achieve subtle yet precise dynamic processing, making it a wonderful addition in any mixing and mastering process.

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KG_SERIES_Plugins_13-09-2025_VST2_VST3  ( 2 GB )

75.8 MB

The XM plugin family has come a long way over the past 1–1.5 years. Now, we have a companion on this journey my dear friend Jordan Faulknor has voluntarily joined the process. Thanks to his unique approach, the XM plugins now have brand new visual designs. I owe him a big thank you!

There have been various changes in the algorithms, and I’ve taken note of all the feedback so far. It’s quite difficult to implement every single piece of feedback and satisfy everyone, but I’ve tried to strike a solid balance. The performance and optimization of all plugins have been reviewed. The internal source codes have been revisited, and every detail has been prioritized.

The plugin market is huge now. However, the XM plugin family stands out with a few key philosophies. The plugin I trust the most is XMLimiter. A few more plugins have entered the market, but when it comes to transient management, avoiding pumping artifacts, and preventing stereo narrowing, they fall short. Because when transitioning from verse to chorus, many limiters on the market cause a loss of feeling and emotion.

XMCompressor is a mastering beast and it’s very hard to match.

XMEQ was built with inspiration from numerous hardware units to achieve tonal balance.

The other XM plugin units also have a similarly subtle sonic character.

In short, everything has been renewed from top to bottom, and they are now ready to use.

(XMVari will follow shortly and join us soon as well…)

As always: FREE! And supporting via donation is more than enough.

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XM.SMB.WIN  ( 151 MB )

XM.SMB.MAC  ( 204 MB )

86 KB

Chord Ripper v3:
Decompose chords across multiple tracks. Add the device to each track you want to feed off the chord and set the desired voice/group. Play a MIDI chord into any track containing this device, and its notes will be distributed across the tracks sharing the same group.
Crisco Note Shortening v1:
Gives precise real-time control of note length. Crisco Note Shortening trades latency for convenience in being able to micro-tune note lengths, e.g. if you have notes in your piano roll that are legato but you want to shorten them to avoid the note release from interacting with the following note. Suggested by Marlon who makes Psytrance, where precise control like this is important.
Fibonacci Note Echo v6:
This is a MIDI Effect device that will repeat notes, with each repeat delay following the Fibonacci Sequence. You can control the number of repeats, time scale, pitch, and velocity change.
This was my first javascript-based M4L patch. It was a great learning experience to figure out how to code up both the logic and visualization in M4L’s javascript environment.

Fractal Note Echo v7:
This is a MIDI Effect device that will trigger notes in a fractal pattern. The base fractal shape (in terms of timing between echo taps) can be defined, then number of iterations and iteration scale can be controlled. The kinds of textures you can get out of it are really surprising, and have been inspiring to me. There is a natural beauty and harmony to fractals, which can contribute a more natural feel to your sounds.
This device is mostly implemented in javascript in Max For Live. Super fun to make.

Key Stepper v7:
A step sequencer that is advanced only via incoming MIDI notes. It supports pattern lengths of 1-32 steps, and with configurable pitch, velocity, and probability per step. Complex polyrhythms and shifting times are easily possible.
Len Stepper v6:
Len Stepper is a single-note arpeggiator that makes it easy to create rhythmic patterns with any measure division. Use it in conjunction with Key Stepper to reliably create polyrythms and fugues.
MoireArp v2:
An arpeggiator inspired by moire patterns. Set a base time interval, number of note layers, and an interval increment and hold a note. Amazing patterns result.
PitchPath v1:
PitchPath is a visual note sequencer that lets you draw melodies. It works with Scale Awareness and can be toggled between relative and absolute note modes. Surprisingly useful!
Quantize MIDI v2:
This device allows you to variably quantize a stream of MIDI notes. Sweep from random to locked in to the song tempo, and everything in between. In the screen recording above, the “Amount” knob in the lower-left is controlling the degree of quantization.

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zs-m4l-NoteEffects  ( 86 KB )

Size:13.5 MB

*Meet the new XM Series!*

Now with unmatched transparency in sound.

Depth that feels like you’ve just bought an expensive piece of hardware!

Our design philosophy remains the same — but we’ve built upon it, refined it, and taken it further.

And now, this philosophy is officially *patented and licensed*!

We’ve also developed a brand-new approach to dynamic control!

In short: the incoming signal is analyzed in real time, split into multiple stages, and then recombined with extreme precision.

But you already knew that, didn’t you?

*What’s new:*

* Fresh new interfaces! (Still just the beginning…)

* Various bug fixes.

* XMCompressor now includes an SC-HPF!

* XMLimiter’s algorithm has been further refined, producing less THD for sustained/RMS response.

* DSP improvements for both XMLimiter and XMCompressor.

* Enhanced GR Meter behavior in XMLimiter and XMCompressor.

* Updated GR Meter visuals for XMLimiter and XMCompressor.

* Improved oversampling behavior and filters in XMLimiter and XMCompressor.

* XMEQ’s “AIR” (High) band is now even more special — while staying true to its original character.

* Reduced harmonic content from XMEQ for a cleaner tone.

* XMCompressor, XMLimiter, and XMEQ now feature dynamic, evolving signal responses — just like hardware — carefully tuned to avoid resolution or L/R balance issues.

* Updated default starting settings for XMCompressor.

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XM_Series_Mastering_Bundle_v12.10.2025_WIN  ( 18  MB )

XM_Series_Mastering_Bundle_v12.10.2025_MAC  ( 40 MB )

67.3 MB

Gianni Chiarello, a UK-based guitarist and educator with a wealth of experience in the music industry, has released Nice Stomps! Plugins – a collection of free guitar-based plugins. These plugins were created to give musicians quick, great-sounding tools for recording, mixing, and creative work.

PreBrowser is a Channel strip plugin that brings thousands of free preamp profiles directly into your DAW through an intuitive search-and-load interface. Powered by Neural Amp Modeler (NAM) technology and connected to the Tone3000 community library, you can instantly access classic preamps by simply searching by brand, model, or keyword. The built-in signal chain gives you complete tonal control: shape your tone with a professional 4-band EQ with parametric mids, add dynamics with a fully-featured compressor (complete with sidechain filter and wet/dry mix), tighten up your signal with a noise gate, and push your output through a final brickwall limiter. Each profile is captured using machine learning for authentic feel and response. A free Tone3000 account is required for the plugin to function as intended. Please read the manual for setup and usage instructions. No more downloading individual profiles or digging through preset banks — just search, load and tweak.

AmpBrowser brings thousands of free amplifier profiles directly into your DAW through an intuitive search-and-load interface. Powered by Neural Amp Modeler (NAM) technology and connected to the Tone3000 community library, you can instantly access classic and modern amps by simply searching by brand, model, or amp type. Choose between Full Rig (FR) profiles—where the speaker cabinet is baked into the capture—or DI amp profiles, which let you use your own IR loader and cabinet impulses for complete tonal control. Each amp profile is captured using machine learning for authentic feel and response, and with built-in controls for Gain, EQ, Level, Gate, and Presence/Bright, you can dial in professional tones quickly without managing files or scrolling through endless preset folders. A free Tone3000 account is required for the plugin to function as intended. Please read the manual for setup and usage instructions. No more downloading individual profiles or digging through preset banks — just search, load, and play.

StompBrowser brings thousands of free pedal profiles directly into your DAW through an intuitive search-and-load interface. Powered by Neural Amp Modeler (NAM) technology and connected to the Tone3000 community library, you can instantly access everything from vintage stomps to modern high-gain tones by simply searching for what you need by brand, model or type, or any gear you’re after. Each profile is captured using machine learning for authentic tone, and with Drive, Tone, Level, Gate, and Bright controls built-in, you get professional results without the hassle of managing files or scrolling through endless presets. You need a free Tone3000 account for this plugin to work as intended. Read the manual for instructions.
No more hunting through preset banks or downloading individual files—just type, click, and play.

EasyAmp is a NAM-powered guitar plugin designed to bring back simplicity and joy to recording. Instead of endless menus and overbuilt features, it gives you a warm, classic amp sound with the essentials: a smooth compressor, musical filters, mid-boost and bright-boost options, a space-shaping reverb, and a set of easy presets that make dialing in your tone effortless. From clean to full overdrive, EasyAmp captures the character and accuracy of a real amp while keeping you focused on playing, creating, and staying inspired, not engineering.

DelayChorus turns a simple plugin interface into a powerful, tempo‑synchronised delay and chorus powerhouse. With two independent delay lines, a tri-style chorus, tonal control and tape‑saturation, it gives studio engineers and live performers the flexibility to craft everything from tight slap‑back echoes to sweeping ambient pads, all with a single click of the sync switch. This completes a feature set that blends the ease of a classic pedal with the precision of a digital audio unit.

California Drive is a NAM-powered overdrive pedal plugin built for players who want character without complexity. It features two modes: a transparent, blues-friendly drive perfect for pop, country, and Americana, and a second which delivers classic-rock edge and punch without being too heavy. With drive, level, tone, and a bright switch, it’s easy to shape your sound, from a gentle boost to a mid-gain overdrive that sits beautifully in a mix, all the way to a fuzz-like texture for heavier indie-style tracks. California Drive gives you inspiring, usable tones that open up a song rather than overpower it.

Windows
– OS: Windows 10 or later
– CPU: x64 processor with SSE, SSE2, SSE3 support (any modern Intel/AMD CPU from ~2006+)
– Graphics: OpenGL 2.0 capable GPU for GUI

macOS
– OS: macOS 11.5 or later
– CPU: Intel x64 with SSE, SSE2, SSE3 support or Apple Silicon (ARM64) via Rosetta 2 or native builds
– Graphics: Metal or OpenGL capable GPU for GUI

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Nice.Stomps.Plugins.15.02.2026  ( 67 MB )

68/141 MB

The SpatStruments mini series brings together through a few plugins the essentials of what is offered in all Acousmodules: advanced integration of space with sound processing, and total freedom in spatial configurations.
These ones are also optimized for the most common “immersive” formats that can have up to 24 channels, which includes a good number of domes and acousmoniums, and covers all the multichannel formats associated with cinemas like 7.1.4 up to 22.2. If needed, like for other Acousmodules, conversions to ambisonic or binaural are easily achieved with high-performance, free plugins such as those from IEM and SPARTA, or even to Atmos objects with tools like Fiedler Audio Dolby Atmos Composer (not free…). Of course, they can also be used in stereo…

he SpatStruments are ideal for creators who do not whish to get lost in the quantity and diversity of Acousmodules, but who want to explore every aspect of spatial sound with maximum freedom. They are also well adapted to people who already have a good experience of spatialized mixing in standardized formats but who wish to go further in spatial sound design. And since each of them combine several tools inside a unified UI, with an important part dedicated to gestures, they can be particularly effective for live instrumental playing too.

P l u g i n s:

S p a t S t r u m e n t S M 2 4
Thanks to the recent expansion of MPE gesture controllers (my first one was the LinnStrument…), the SpatStrument SM24 should make it possible to approach audio-spatial sculpting in a playful and creative way, whether it is done inside standardized broadcast formats or in the freedom of original open spaces creations.Fortunately, it can also work in stereo with an ordinary keyboard with still enough features to play with sounds in innovative ways 😉
It associates sampling and synthesis with an original Spatial Shaper section where nearly all parameters can respond to multi-dimensional touch, of course if you have such device. And if it can work theoretically with every MPE controller, only a few of them have the needed sensitivity on the 3 axis to be really efficient 🙁

See also: MPESpat, MPESynth and MPESampler, all with 64 channels.

S p a t S t r u m e n t P L 3 2
The SpatStrument PL32 (for PLayer) can be considered as a sample player or a clip launcher.It allows to play at a time up to 25 mono samples and 9 up to 18 channels ones. It is mainly designed for NOT being based on tempo or beat synchronization, and to give preferential treatment to sensible gestures, fluctuating and even random controls.
It doesn’t have a spatialization section and effects, and it is intended to be used in tandem with the SpatStrument FX24/32.
Both sections, the Touch Player and the Mass Player, can be controlled by a regular MIDI keyboard, but they can benefit from more advanced control surfaces and 3D gesture controllers.

S p a t S t r u m e n t G R 2 4
The SpatStrument GR24 (for GRains and Gesture Recorder) is a versatile instrument dedicated to sample mangling and granular kind effects.It can record or load a mono wav file and process it through two different but complementary tools: the Vaporizer and the Crumblizer.
The Crumblizer can produce extremely short shards to extremely dense textures through evolving rythmic cells, while the Vaporizer is more adapted to particle clouds and trajectories. All their multiple sounds are spatialized with the same powerfull 24 points Spatial Shaper and Animator as the other SpatStruments.
What distinguishes it more is its Gesturizer Pad and gesture Sampler which gives a new level of spatial sound design.
The Gesturizer is also available as a MIDI plugin in the MiniTools Collection.

S p a t S t r u m e n t A L 2 4
The SpatStrument AL24 (for Animations and Loop) is a kind of spatial sound machine, which uses samples and synthesis to create animated textures.The Spatial Animation section is based on the same Spatial Shaper that other SpatStruments, but is more developped with the Path Animator. It can generate continuous 3D movements and combine them with a 16 nodes graphic path.
The Synthesizer section consists in 32 substractive synthesizers modules that can follow subtle variations or present totally different sounds thanks to its Deviation and Random parameters.
You can also use the Direct outputs mode to send the 32 Synthesis voices to be processed with the SpatStrument FX24/32 or dynamically mixed and binauralized in SpatStrument VB32.
The Sample section looks rather simple, but like the Synthesis, its main parameters can be modulated according to the 16 spatialized voices, which can make evolving or rythmic patterns.

S p a t S t r u m e n t F X 2 4 / 3 2
Multichannel are now rather common, and great series as MeldaProductions (64 channels) or highly specialized ones like SoundParticles or AudioBreewers can be very creative. But the majority of them simply process the sound in parallel, with the same settings for the whole space. They are also logically focused on standard spatial formats, like spherical or cinema kinds, and are generally incapable to process more open ones.On the other hand, since twenty years, the purpose of Acousmodules is to integrate sound and space design as tightly as possible and to allow to explore speaker spaces totally freely.
SpatStrument FX24 is based on Acousmodules’s original Scatter series, which offers a simple way to handle hundreds of parameters values while modulating them intuitively and efficiently.
Its effects, connected in series, are rather classical – Pitch and Frequency Shifter, Delay, Multimode Filter, Reverberation – but their multichannels combinations brings new possibilities, even reduced in surround or stereo output 😉
It can be used in Direct Channels Mode to process sounds coming from other plugins like the

S p a t S t r u m e n t V B 3 2
The SpatStrument VB32 is by some aspect simpler to use than other SpatStruments since its input and output spaces are fixed: a one or two layers 32 channels grid for the inputs, and 8 points arranged in circle or cube for the outputs.It is because its spatialization mode is quite “inverted”. Instead of moving sources between output points, it is the output group which is moved inside the inputs space, like we will do in a 6DOF VR game… or in real spaces.
It can work very well for an octophonic production, but it is mainly intended to be used in binaural, either with the internal convolution module or an external processor.
The Cube output brings support for 360° immersion, but to be honest binaural is generally not so good with elevation and the 2D/Circle mode seems to be better most of the time…
It can be simply played with the mouse for the horizontal plane, or better with a 3D gesture controller.
Exemples of use:
– binaural mix with movements (or octophonic spatialization) of 32 mono tracks
– replacements of the spatialization section of the SpatStrument FX24/32
– interactive sound design with SpatStrument AL32
See also SpaceXplorer plugins.

S p a t S t r u m e n t C 2 4
The SpatStrument C24 can be used in two ways: to convert or adapt one spatial format to another, or to spatialize/transform the spatial mass of a sound of up to 24 points. In the first case it must be generally inserted at the end of the production or diffusion chain, in the other one it can be on a track like a panner or directly on an object (Reaper).In both cases Input and Output can have up to 24 channels, represented on a plane for 2D and most Periphonic spaces, or in 3D for Volumetric sounds and formats.
The precise arrangement of the points is done directly on the two views (top and front) allowing adjustment by ear during processing, which is particularly useful for format adaptations. These configurations can also be imported and exported for easy exchange with other SpatStruments.
The transformation of spatial masses is carried out globally with a few simple controls: their position in three dimensions, their orientation (Yaw, Pitch, Roll, Fold) and their 3D Scale ratio, allowing them to be reduced to a line or even a point. If automated, these shapes movements can follow non linear organic animations thaks to the Delay and Glue parameters.
For difficult cases or to obtain more free spatial effects, the Fader Mode provides up to 64 outputs to connect to each 24 inputs, and adjust up to 4 output levels for each one.

S p a t S t r u m e n t T 2 4
Whatever the space is, however abstract it can be like with ambisonics coding and OBA, there is always one moment where arises the question “what channel goes to what speaker?”, or simply when having a visual confirmation of what you hear can help to make good choices. There is also the need for calibration and all these little level adjustments, and also, particularly important, the Bass Management, which can not only produce a good sound but also can help unify the entire space of a speaker system. Last but not least, some hosts actually cannot record the multichannel sound that you produce…The SpatStrument T24 is an All-In-One tool to put at the end of the production path, generaly on the Master track, eventually after the decoding or rendering stage, just before the soundcard and the speakers.
At the difference of the other SpatStruments, it does not create sounds and spaces, but it can be used in a wide range of production and show situations. You will also find a downscaled version of the Peaks, Test and Router section as separated MiniTools.
If 24 channels is not enough and if you prefer modularity, see also the 64 channels SpacedTest, SpacedView, SpacedRoute-S, MultiLevel, SimpleBass and SimpleAnalyzer.

Requirements & installation:

Visit Developer Site

Acousmodules.SpatStrument.bundle  ( 68 MB )

32 MB

MidBoss is mid-frequency targeted saturator and sweetener with 6 different types!

While it mostly saturate mid-frequencies, it will shape high-end or low-end response according to selected type.

FEATURES

– Type : 6 different types for different sounds

– DRIVE : It will shape and saturate signal

– MIX : It will blend processed and processed signal

– OUT : +/- 15dB clean output (Screw adjust)

– I/O : Bypass

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.)

Version 1.0 – 20.10.2025

– Initial Release

Available Formats

VST3 / AU / AAX Native – Audiosuite | Mac 10.11 or Higher | 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”

Visit Developer Site

MidBoss_1.0_WIN  ( 19 MB )

MidBoss_1.0_MAC  ( 19 MB )

64 KB

Chiastic Slide:
Smoothly crossfade between any number of child tracks in a group or chains in a preceeding Instrument Rack or Audio Effect Rack device. Allows for crazy tempo-locked layering.
Chiastic Solo:
Gives you a knob to control which track or chain is soloed in a group or rack. It makes some workflows in mastering or creating albums easier by letting you map a hardware knob to track selection. Requires an options.txt workaround with Live 12.
SimulScrub:
Plays a number of contiguous time segments of an audio file simultaneously, with a flexible crossfader control to select which segment(s) you want to hear. This allows you to scrub through time of a longer sample, while always playing the sample at 1x speed.
TapPanZeit:
A bucket-brigade delay tap field with control over timing and stereo placement of each tap. Up to 128 taps + an insane feedback control.
zs Feedback Matrix:
This effect rack device is two independent effects channels (chains) that have complete feedback capability, both per-channel and between channels! You can put any effects in either chain, and experiment with feedback and cross-feedback.
zs Send Duck Rack:

An audio effect rack that provides controls like an effects send, as well as a ducking feature for any effect.

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zs-m4l-AudioEffects  ( 0.6 MB )