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 )

38.8 MB

Harmonics Plugin. unique algorithm that generates harmonics and subharmonics in a precise and surgical manner. uses an innovative hilbert transform based phase multiplication technique.

though it may be compared to distortion, it does not alter dynamics and achieves clean output with less intermodulation, in a way never seen in traditional distortion plugins.

utilize the subharmonic knob to make basses and kicks beefy, or increase the 2nd and 3rd harmonic to tone-shape guitars and synths, making them cut through any mix.

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Sucrose.1.0  ( 39 MB )

10.2 MB

trasher lite is a waveshaper focused entirely on the graph. it allows you to modify the graph in any way you want. adding, removing and modifying points will feel seamless due to the comfortable and a familiar workflow. thanks to the built in oscilloscope, you can instantly see how the output looks like!

Features:
– flexible waveshaping editor
– asymmetrical and symmetrical mode
– adjustable curves
– lightweight on resources
– linux, macos and windows supported
– great quality thanks to 4x oversampling

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Trasher.Lite.1  ( 10 MB )

10.5 MB

Vinland Drive is a vintage tape emulator designed to bring the behaviour, tone, and movement of a tape machine into modern sessions. Its processing is built around a dynamic tape-inspired signal path that adds saturation, soft compression, record/playback coloration, gentle low-end rounding, and softened high-frequency texture while keeping the source musical.

Under the hood, Vinland Drive is not just a static saturation stage. It uses level-dependent harmonic response, hysteresis-stile saturation behaviour, subtle drift and modulation, stereo decorrelation, envelope-following noise texture, and oversampled nonlinear processing to recreate the feeling of a machine that reacts to the signal rather than simply coloring it. The result can range from gentle analog thickening to a more pushed, worn, and characterful tape tone, with added depth and perceived width.

FEATURES
– Dual drive structure with Input and Heat gain stages
– Automatic gain compensation for smoother drive staging
– Output level control
– Oversampling
– Bypass control
– Tape-inspired saturation and soft compression
– Level-dependent harmonic generation
– Frequency-aware harmonic shaping with high-frequency harmonic control
– Hysteresis-style tape response
– Record/playback-style tone coloration
– Softened high-frequency texture
– Internal machine variation, bias drift, and head drift
– Wow, flutter, drift, and transport-style modulation
– Stereo crosstalk and decorrelation for added depth and perceived width
– Envelope-following hiss and noise ducking
– Subtle tape wear, smear, dropout, and age-style artifacts

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Vinland.Drive.1.0.0  ( 10 MB )

124 MB

GRIM3 is a free Aurora DSP overdrive made for players who need a tight, aggressive front-end push before an amp or amp sim. It combines a familiar boosted drive feel with deeper tone shaping for modern high-gain guitars, bass layers, and focused riff production.

Tight pre-gain low-end control
Low and High EQ shaping
Blend control for dry/wet drive balance
Bite control for midrange focus

About
Built for chugging, GRIM3 can work as a transparent clean boost, a tone warmer, or a saturated overdrive that tightens the input stage before your amp. The control set lets you cut boom, add bite, balance dry attack with driven weight, and push the output into the exact amount of impact your mix needs.

Tight
Trims low end before gain.
Blend
Mixes dry signal with drive.
Bite
Moves the midrange focus.
Level
Sets the final output push.

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Grim3.0.9.0  ( 133 MB )

26.4 MB

Analog Buffer Plugin. A free pedal-buffer and cable interface that models the small electrical interactions often lost when recording directly or using a wireless system. Explore different input loads, active-device characters, output impedances, and cable lengths to bring cable-induced tone and feel back into a wireless or in-the-box signal chain.

Key Features
– Complete Buffer Signal Path — Models input loading, input buffering, coupling capacitance, active-device colour, protection-stage nonlinearity, bandwidth, output impedance, and cable capacitance
– Eight Buffer Voicings — Choose from eight generalized circuit profiles ranging from coloured pedal-style buffers to high-impedance, transformer-coupled, and clean studio-style responses
– Nine Active-Device Characters — Compare transistor, field-effect transistor, transformer, and six op-amp-style responses
– Passive / Active Input — Changes source impedance and loading behavior to suit passive instruments or active and line-level equipment
– Cable Simulation for Wireless Setups — Select no cable or 1, 3, 5, and 10 meter cable lengths. This lets wireless users restore the subtle loading and high-frequency change normally introduced by a physical cable
– Trim — Adjust the level entering the modeled circuit from -24 to +24 dB
– Gain — Set the modeled output stage from -12 to +18 dB
– Fixed 4x Oversampling — High-quality oversampling keeps nonlinear stages smooth
– Stereo processing with parameter smoothing

Wireless systems are increasingly common, but removing the instrument cable also removes part of its electrical interaction with the signal. BufferCareler lets you add that cable-induced tone back while keeping the convenience and freedom of a wireless setup.

It can sit at the start of a chain to recreate the loading and high-frequency interaction of a physical setup, or at the end to explore how output impedance and cable length affect the signal feeding the next device.

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BufferCareler.1.0.0  ( 26 MB )

15.2 MB

Harmonic Bass Enhancer. Continuous frequencies and continuous boost. Great for materials for weak low-end. You will get low bump directly when you load plugin. Then, you can choose your frequency and boost according to your need.

Features
– FREQUENCY: 60Hz to 180Hz continuous frequency
– BOOST: 10dB continuous boost
– OUTPUT: -10dB to +10dB output
– PLUGIN LABEL: Bypass button. It’s red and when you click it to bypass plugin, it will turn to white.

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LOVEND.3.0  ( 15 MB )

21 MB

Dynamic tube overdrive. Evergreen captures the feel of a cranked tube amp – the way it breathes, sags, and responds to your playing dynamics. It’s designed to respond to dynamic playing instead of being just another overdrive.

This effect combines classic mid-hump overdrive (you know, the green one) with advanced dynamic modeling for an organic, amp-like response.

Features
– Touch-sensitive drive that responds to playing dynamics
– Power supply sag simulation for natural compression
– Asymmetric clipping with even harmonic warmth
– Cabinet body resonance for amp-like fullness
– Classic 3-knob layout: Drive, Tone, Level
– VST3 + CLAP + AU formats
– macOS (Intel + Apple Silicon), Windows, Linux

Sound
– Low drive: Clean boost with subtle warmth
– Medium drive: Strong sustain with touch response
– High drive: Thick, warm, compressed saturation

Play soft for clean tones. Dig in for breakup. The harder you play, the more it pushes back.

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Evergreen  ( 21 MB )

20.9 MB

Bit depth and sample rate reducer. Bit Crusher reduces bit depth and sample rate to create that crunchy, lo-fi digital sound. Think vintage samplers, early video games, and broken digital gear.

Features
– Bit depth reduction (16-bit down to 2-bit)
– Sample rate decimation for aliasing artifacts
– Mix control for parallel processing
– Output gain control
– VST3 + CLAP + AU formats
– macOS (Intel + Apple Silicon), Windows, Linux

Sound
– Subtle: Gentle warmth and texture
– Medium: Classic 12-bit sampler crunch
– Extreme: Glitchy, destroyed digital chaos

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Bit Crusher  ( 20 MB )

29.3 MB

Shape your tone and bring back the buried musical energy.

1. Auralume Saturator adds only the harmonics that matter, enhancing your sound with musical depth through simple and intuitive controls. While “saturation” can easily become harsh, excessive, or reduce the perceived size of the original signal, this plugin avoids those unwanted side effects. It is designed to provide just the right amount of energy and presence without introducing haze or musical clutter.

2. The SILK mode delivers a smooth and cohesive character, refining the top end without introducing harshness. It brings clarity and a silky texture to vocals and other aggressive or bright tracks, adding presence and polish while maintaining natural balance. This mode enhances detail without pushing the sound into unwanted sharpness.

3. The WARM mode provides greater thickness, power, and harmonic breadth. Compared to SILK, it produces a fuller and more expansive tone, making it well-suited for guitars, drums, and powerful vocal styles. It enhances body and intensity while preserving natural warmth, resulting in a sound that feels both strong and organic.

Supported OS
Windows 10 or later / macOS 11 Big Sur or later

CPU
64-bit Intel processor or Apple Silicon (native support)

Memory
8 GB RAM or more recommended

VST3 (64bit)
AU (64bit)
AAX (64bit macOS only)

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Auralume.Saturator.Lite.1.0.1  ( 29 MB )