35 MB

Hybrid modeling drum kits featuring synthesized drums sound in classic analogue synthesizer such as TR-808, MS-20, Minimoog and others. Incorporating all-time classic analogue instruments with modern High-End processing hardware and production technique.

A key innovative feature in Supreme Drums is its Fusion Effect System. Powered by groundbreaking AI technology, Fusion Effect combines EQ, dynamic processing and transient designer into only three easy-to-understand controls.

This effect can make an effective change in sound on the fly without the need for vast professional knowledge to carry out the operation.

A standout feature of Supreme Drums One is its support for MIDI 2.0 and MPE, offering users an entirely new way to interact with the instrument through their devices. The higher resolution of MIDI 2.0 provides more precise control over the sound, along with numerous advantages when used with the latest MIDI 2.0-compatible keyboards and controllers. Notably, this is the first time the Fusion Effect can be directly controlled via MIDI controllers using MIDI 2.0’s highly detailed controller messages.

Key Features:
Hybrid Modeling technology with a small size (45MB)
Innovative Fusion Effect Unit
Support latest MIDI 2.0 and MPE
Provides VST3 Version （Now only Windows Version, as Mac Version now need signing and notarize, it will take more time）

Visit Developer Site

SoundMagic-SDrumsOne-v0.98  ( 34 MB )

8 MB

Drumclone allows extracting and modifying high-quality single drum sounds from complex audio sources like songs, samples, or any recording with perceptible percussive elements. Drumclone comes with models* to precisely isolate and resynthesize drum sounds, which allows a fast iterative workflow thanks to its sub-second processing times and drag and drop UI. While it works for isolation, drumclone’s main focus is it’s sound-design capabilities. Being able to imitate one-shot percussive noises and tweak their attack, transient, noise component, etc, down to the sample-level.

Real-world usage
The utilization of pre-made sounds or song samples is a prevalent practice across various music production genres. Drum samples, in particular, serve as essential components, often forming the structural foundation of numerous compositions. Utilizing drumclone, these high-quality drum sounds can be extracted from existing recordings and subsequently modified without any degradation in sound quality.

This methodology can effectively isolate a drum sound and mutate it from pure sine-like percussion, to harmonically rich and distorted drum sounds, while keeping the processing fast enough to visualize the results it in real-time.

Unlike traditional extraction methods, which tend to degrade the quality of the sounds with unnatural filtering artifacts and output static audio samples, resynthesis can model the original timbral characteristics of the drums and allows creative flexibility by tuning the underlying formula with simple user-facing controls.

Technology
1. Analysis
Processing starts with time and frequency domain analysis of the input. Features are extracted and modeled in the time domain to aid in detecting events and components corresponding to percussive signals in the spectral domain.

2. Extraction
Components are isolated from the input using different soft spectral masks tailored to the component type, built around detected events and user-specified envelopes.

3. Resynthesis
Once these audio layers are reconstructed from the spectral domain, dynamics and stereo processing are applied to refine the output.

These filtered percussive component layers serve as the input for the resynthesis process. Each signal is matched using a synthesis technique that accurately represents their tonal and amplitude characteristics.

4. Mix + post-processing
This is achieved by using different polyphonic or monophonic oscillators (sine and band-passed noise) and generating modulation envelopes that closely resemble the input.

Following resynthesis, the layers are mixed down into a cohesive stereo track. Straightforward cross-fading and summing with predefined curves are employed in the mix.
Finally, stereo and dynamics processing are applied to the output track to achieve a more natural sound and controlled audio levels.

Capabilities:
One-shot percussion isolation and resynthesis.
Flexible transient and body sculpting with tone and noise controls.
Fine-tuning with sample-level resolution.
Synthesis models to avoid typical filtering isolation artifacts.
Extremely clear drum sound output for applying further processing chains.
Real-time visualization of every change in the waveform.
Fast drag-and-drop workflow.
Fully offline, no cloud or servers involved.
Sub-second processing times on common hardware.
Multi-segment envelope editors to accurately shape the underlying model.
Low-profile vector UI with data visualization and inline controls.

System requirements

drumclone-win-0.6.2  ( 4 MB )

drumclone-macos-0.6.2  ( 5 MB )

17 MB

Geonkick is a free software synthesizer capable of generating a wide range of percussive sounds, including kicks, snares, claps, hi-hats, shakers, and also unique effect sounds.

LV2, VST3, Standalone
16 Instruments, 16 MIDI Keys
16 Stereo Channels
3 Layers/Instrument, 3 Oscillators/Layer
Play, modify & blend samples with synthesis
Save (JSON) & Export (FLAC, WAV, Ogg, SFZ)

Changelog:

Version 3.4.0

Features
UI & DSP: set instrument MIDI channel
UI & DSP: Setting to force all instruments to MIDI a channel
Presets: new kicks presets by Harald Revery
Presets: new kicks presets by Oleh Bardiuk ( @o-bardiuk )
UI: Add settings tab
UI/File Browser: bookmark folder option
UI/Preset Browser: Add custom preset folder

Fixes
Code: fix memory corruption when loading presets with samples
Code: remove the usage of shared pointers from the Geonkick code
DSP/Filter: fix the hardclip for high values ( bug found by @DerozerDSP )
Core GUI/redkite: use list container for observers (fix potential crashes espacially for lib++, crash reported by @treapster )
Core GUI/redkite: don’t access the interface from the ~RkObjectImpl (fixes crashes in libc++ found by @treapster )
UI: Fix -inf to int conversion for attack value in the compressor group box ( @treapster )
DSP: Fix uninitialized gkick_envelope_apply_type ( @treapster )
DSP & UI: Fix nan/inf values for leveler ( @treapster )
Build system: use funsafe-math-optimizations -fno-math-errno -fno-trapping-math ( @treapster )
Code: error checking on parsing presets (fix potential crashes)
Improvements
Presets: update key mapping for kit presets to follow closer the general MIDI percussion key map.
Code: move to C++20

Version 3.3.2

Fixes
Fix high CPU usage by DSP
Fix limiter for the audition channel, use a separate audition channel for samples preview
Fix instrument leveler value

https://geonkick.org/index.html

Geonkick-v3.4.0  ( 17 MB )

Free | Win Mac Linux | 45 MB

A lookahead compressor/limiter that’s soft as a lamb.
Lamb was made with these goals in mind:
Sound as clean as possible and as dirty as desired.
Give the user full control over the character with the minimum amount of knobs.

Features:

The following features set it apart from other compressor/limiters:

Use it as a brickwall limiter, a compressor, a leveler, a waveshaper/clipper or anything in between.
As long as the ratio is inf:1, the lookahead is 100% and the output gain is 0dB, the output will not exceed the threshold1.
When the attack, release, release hold and adaptive release are all at their minimum value, you get a waveshaper/clipper.
When adaptive release is at 100%, you get a leveler.

Adjust the shape of the attack and release.
The inspiration for this came from a video by Dan Worrall.
When shape is at 0, the curve is a slice of pure sine.

No discontinuities in the derivative of the gain reduction.
The gain never abruptly changes direction, resulting in a smoother sound, even at short attack and release times.

Release hold eliminates distortion while keeping most of the level.
Release hold prevents the gain from coming up if it needs to go back down again soon.
You control how soon is soon.
Here’s a gain reduction graph with and without it:

Adaptive release (optionally) prevents pumping.
With adaptive release, the gain won’t rush up too much when there is a quiet part after a big peak, but it will still react quickly to transients.
The first couple of dB of release have the speed you set with the release knob, after that it slows down.
The adaptive release slider controls how many dBs will release fast and how much it will slow down afterwards.
If you DO want obvious pumping, just turn adaptive release off!

Exact attack and release times allow you to easily match any breathing to the tempo of your track.
In most compressors and limiters, the times describe how long it takes to do “most” of the gain change.
In lamb, 500 ms corresponds to exactly 1/4 note at 120 BPM.

Adjust the amount of stereo linkage.
Most limiters are fully stereo linked. This makes sense, since you don’t want the stereo image to shift.
However, if the asymmetry in gain reduction is small and short enough, you won’t notice any shift in stereo image.
(Partially) unlinking left and right can sometimes sound more natural, because a loud sound on one side won’t make the other side duck in level.
Slower changes in gain reduction, caused by adaptive release, are always fully linked.
You can set the amount of linkage for transients as needed.

Choose between fixed or minimum latency.
In most case, you can leave this at fixed, but if you want to use lamb live or for tracking, you can set it to minimum.
The latency is always reported to the host.

Downsides:

There are two main downsides to this plugin:

Heavy on the CPU.
Because of the advanced algorithm, this plugin is quite heavy.
I have done everything in my power to make it lighter, from writing a highly optimized sliding minimum algorithm
to writing an N dimensional memoization function.
If you are good at math or computer science and want to help me optimize it more, open an issue, or better yet a PR!
Long latency.
The clean sound of this plugin is partially made possible by a copious amount of lookahead.
In fixed latency mode, the latency is 100ms.
In minimum latency mode, the latency depends on the attack, release hold and lookahead parameters.

Home

Lambv2.0  ( 45 MB )

size 1.5 MB  / 4.2 MB

OvDrum is a drum module for creating analog percussion with additive synthesis.

OvDrum is the result of many years of my development in the field of analog percussion and virtual percussion instruments. This VSTi synthesizer is capable of simulating (with certain electronic features of the sound of analog synthesizers, of course) almost any percussion or percussion instrument in the world. A simple but effective electronic circuit and controls contain all the basic blocks necessary for creating percussion and percussion sounds, allow you to simulate the sound of barrels, cymbals, claps and other instruments made of leather, metal and wood, which are often used by modern manufacturers of sound tracks.

2 identical oscillators with independent tuning (with waveforms in the form of a sine, saw, square, ramp, and white and pink noise), 2 filters (simulating the famous filters from Moog synthesizers), 3 envelopes for amplitude, filtering and tonality, and also only the most necessary controls. All this makes oVDrum a real generator of bass barrels and tomtom, snare drums and rim shots, hi-hats and cymbals, and even … cow bells and claps. In oVDrum, it is possible to recreate some samples and patches of classic rhythm machines of the 80s and 90s, for example, Roland TR or Linn LM.

In addition to the controls, oVDrum has various level indicators, such as VU Meter, Oscilloscope, Freq Meter, and even … lights that light up every time you press a key on a MIDI keyboard. Thanks to OvDrum, you can record compositions in the style of EuroDisco, EuroDance, Electro, Hip-Hop and even in experimental genres such as IDM or Glitch. I added 33 patches to this instrument with popular synth drum sounds: BD (Bass Drum), SD (Snare Drum), HC (Hand Clap), TT (TomTom), HH (Hi-Hat), CY (Cymbal), CB (Cow Bell). You can change them in a few mouse movements, if necessary. Perhaps more patches will be added in the future. MIDI Chanel: 10 (GM Standard Drums). Polyphony: 8 (monaural mode is initially turned on, but you can turn it off, this is very useful for a tomtom or cymbals with a long release).

ovdielengineering.blogspot.com/

oVDrum  ( 1.5 MB )

oVDrum_x64  ( 4.2 MB )

size 0.3 MB

Perkele2 is a FM drum synthesizer.

Includes Perkele version 1 and SuperPerkele.

n/a

RH-Perkele  ( 0.3 MB )

Synsonics-V is a 1981’s analog drum pad emulation.

The Synsonics was launched by Mattel in 1981 as a really low cost alternative to Simmons or MPC Electronics.
It provides 5 sounds: 2 toms, a snare, a cymbal (Close/Open) and a metronome click.
Legends say Kraftwerk used one, but no one knows how, or on which album! But anyway, loads of musicians used it as a real instrument despite the fact Mattel was often associated with kids toys.
On the actual machine, none of the sounds are editable and the background noise is so important the Synsonics is hard to record. That’s why I decided to develop this small program 😀 The free version contains 2 toms, the snare and the cymbals but not the metronome click. All the sounds are still editable and automatable.

https://sites.google.com/site/digitalsystemic/

Synsonics-V_WinVST2  ( 3.9 MB )

Synsonics-V.component  ( 3.7 MB )

Elsita is a soviet analog drum synthesizer produced from 1989 until 1991, when RMIF went bankrupt. 
Although being released in a pretty late period, and it’s was built following old standards from the mid 70’s/early 80’s : fully analog, trigger-only, with big knobs.
this has 4 channels, which are not perfectly identical, at least on my model. It sounds more like a A/B/A/B disposition (As the colors suggest actually), but they all have the same parameters.

https://sites.google.com/site/digitalsystemic/home?authuser=0

Elsita-V  ( 4 MB )

Elsita-V_MacAU  ( 2 MB )

Bong is a digital classic percussion synthesizer.
A selection of 41 models feature timbres inspired by the golden age of electronic drums.
Bong increases the specifiability of the genre without requiring a manual to understand. Development was largely inspired by a modified Boss dr110.

http://www.xoxos.net/

bong ( 3 MB )