96 MB

Reverie is an audio effect built around a simple idea: everything can resonate.
At its heart is a bank of sympathetic strings, modelled with Karplus-Strong synthesis and tuned to a musical scale of your choosing. Instead of playing them from a keyboard, you excite them with sound. Send in a drum loop and the strings ring out in sympathy with every hit. Send in a pad, a vocal, a field recording, or pure noise, and Reverie reconstructs it as a shimmering, harmonic version of itself, locked to your key. It is the acoustic phenomenon behind a sitar’s drone strings or an open piano with the sustain pedal down, turned into a tool you can point at any track.

But Reverie is more than a resonator. It carries a second engine: an audio-reactive sampler called Texture. Load any sample, foley, percussion, atmospheres, a single struck bell, and it fires or loops in response to your input’s dynamics, following its brightness and even its pitch. On its own, Texture is a reactive layering machine. Combined with the strings, it becomes something new.

The two engines are what make Reverie a single instrument rather than two effects in a chain. Three controls tie them together:

EXCITE routing lets the Texture engine become the excitation for the strings. Load a granular foley sample, give it a rhythm, and the strings resonate with the timbre of that sample and the harmony of your scale. This is the plugin’s signature: a resonator you can feed with textures.
TRACK listens to the pitch of your input and plucks the nearest string of the scale, so the sample and the strings sing the same note. It is an arpeggio that follows your melody.
MORPH is a single macro that crossfades the whole face from pure strings, through both engines together, to pure texture, ideal for automation and for shaping a sound in one gesture.
Around the engines sits everything you need to sculpt the result: twenty-one tuning scales including a custom scale builder, seven string materials, control over decay, damping, dispersion, warmth and stereo width, an excitation filter and bloom stage, a lush reverb with freeze, a feedback delay, and a fully drawable modulator that you can route to seventeen destinations across both engines.

Reverie ships with 48 factory presets, from pure string voicings and melody-tracking harps to deep ambient beds built on the series routing, and its full sample library installs automatically, so it is ready to play out of the box.

Reverie is not a synth. It has no keyboard, no MIDI, no notes to program. Its instrument is whatever you send it. Put it on a send, print it, resample it, or leave it live on a bus: whatever goes in comes back transformed, tuned, and alive.

Feed it anything. Reverie will find the music in it.

Features:

Sympathetic string resonator (Karplus-Strong), driven by incoming audio, no MIDI needed.
Audio-reactive sampler (Texture) with Trigger and Flow modes, load any WAV/AIFF/FLAC.
Signature series routing: the sampler can excite the strings (a resonator you feed with textures).
Note tracking: input pitch plucks the matching string of the scale.
Morph macro: one knob from all-strings to all-texture.
21 tuning scales including microtonal sets (Quarter Tones, Just, Pythagorean, Slendro, Pelog) and a 16-slot custom scale builder.
7 string materials (Plain, Nylon, Gut, Steel, Bronze, Crystal, Felt).
1 to 24 sympathetic strings, tunable spread, detune and glide.
Excitation shaping: high-pass / low-pass filter, tilt, transient emphasis, drive, bloom.
Shared space: reverb with freeze plus a feedback delay.
Drawable modulator with 17 destinations across both engines, free or tempo-synced, forward / reverse / ping-pong.
Independent Dry/Wet for each engine plus a master output.
Sample loop editor with Forward / Reverse / Ping-Pong playback and live loop markers.
48 factory presets with their full sample library, installed automatically.
Formats: VST3 and AU (macOS); the macOS build is a notarized universal binary (Intel and Apple Silicon).
Technical specs:

Type: audio effect (sympathetic string resonator + audio-reactive sampler). No MIDI, no keyboard.
Formats: VST3, AU (macOS only).
MacOS 11.0 or later, Intel and Apple Silicon (universal binary, notarized).
Windows 10 or later, 64-bit.
String bank: 1 to 24 sympathetic strings.
Texture sampler: up to 8 simultaneous voices (Trigger mode).
Tuning: 21 tuning scales, including a 16-slot custom scale builder.
String materials: 7.
Modulation: 1 drawable lane, 17 destinations, free or tempo-synced.
Sample rates: 44.1 kHz to 192 kHz.
Factory presets: 48.
Factory samples: 23 (installed on first use).
Sample import: WAV, AIFF, FLAC.

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Reverie.1.0.0  ( 96 MB )

118 MB

Restrukt allows you to restructure the spatial DNA of your tracks, delivering the punch, warmth, and modern air required for professional mixes.
The core philosophy of RESTRUKT is rooted in the history of drum production and creative acoustic manipulation.

restructure the spatial DNA of tracks, delivering the punch, warmth, air

Surgically extracts unwanted room bleed, ring, and muddy sustain from the input signal without destroying transient punch

RESTRUKT is the evolution of this heritage. It streamlines this historically complex, multi-plugin routing into a single, cohesive interface. By linking multiband sustain reduction, analog tape drive, and modern particle shimmer in series, RESTRUKT gives you classic acoustic control with modern, pristine digital fidelity

– Subtractive Acoustic Shaving
– Harmonic Excitation (Tape Saturator)
– Adaptive Space Injection

REAL PROBLEM

In modern audio production, natural acoustics are notoriously difficult to control. Drum loops often carry muddy room resonance or mic bleed. Snares ring out too long and clutter the mid-range. Acoustic instruments recorded in untreated home studios carry cheap room reflections that wash out a mix.

Standard utility gates are too crude for this problem—they simply shut off the audio abruptly. Adding standard reverb on top only piles more clutter onto an already messy acoustic foundation, resulting in a muddy, unprofessional mix.

SOLUTION, THAT WORK

RESTRUKT is a spatial reconstruction engine designed to strip away unwanted natural acoustic environments and replace them with pristine, driven, synthetic space.

Instead of fighting messy rooms or long decays, RESTRUKT tears down the acoustic footprint of any signal.
It uses a precise, multiband subtractive engine to shave off unwanted bleed and sustain. Then, it runs the dry, punchy transients through a warm tape saturation circuit before injecting a sparkling, highly controlled, shimmering burst of synthetic space

History Of Concept

The core philosophy of RESTRUKT is rooted in the history of drum production and creative acoustic manipulation.

In the early 1980s, legendary producer Hugh Padgham and engineer Peter Gabriel accidentally discovered the “gated reverb” sound. By routing a massive, ambient drum room mic through a heavily compressed talkback channel and a fast-acting noise gate, they realized they could capture a massive, explosive snare hit that vanished instantly into dead silence. This sound defined a decade of pop and rock production.

By the late 1990s, hardware transient designers introduced envelope-shaping to the masses, allowing engineers to mechanically shorten or lengthen the sustain of hits without relying on traditional signal thresholds. In the modern digital era, producers frequently combine transient gates, analog saturation, and short, bright reverbs to “synthesize” artificial room sounds for dry sample libraries.

Subtractive Acoustic Shaving
A precise, multiband envelope shaper that surgically extracts unwanted room bleed, ring, and muddy sustain from the input signal without destroying transient punch

REDUCE Controls the overall intensity of the sustain reduction. At 0%, the envelope is untouched. At 100%, the sustain and tail parts of the sound are aggressively muted, leaving only the sharp transients.

DIVIDER Sets the crossover frequency at which the signal is divided into low and high processing paths. This allows you to treat low-end decay (like a boomy kick) differently than high-end decay (like ringing cymbals).

HIGH/LOW THRESHOLD Defines the upper/lower frequency band threshold level. When the band signal drops below this level, the sustain reduction kicks in.

Harmonic Excitation
An analog-modeled tape circuit that adds rich, cohesive harmonic distortion and warm compression, giving the dry transients the energy they need to cut through a mix.

DRIVE Adjusts the input gain into the analog tape emulation. Increasing this adds warm harmonic saturation, grit, and natural analog compression.

LEVEL Controls the output level of the saturation module before it enters the Tail Verb. Use this to feed more or less signal into the spatial generator.

Adaptive Space Injection
A dynamic, particle-style shimmer reverb designed to “spray” a localized, sparkling burst of synthetic space exactly where the excited transients hit, avoiding global reverb wash.

SPACE Blends the processed signal with the reverb. Maximum internal mix is kept to prevent the reverb from overwhelming the core punch of your transients

TAIL Controls the perceived size and decay time of the reverb space. Lower values create tight, metallic room bursts; higher values create wider, expanding spaces.

SHIMMER Adds a bright, pitch-excited, shimmering high-frequency quality to the reverb tail, mimicking

expensive digital plate hardware

POST FX

The final mixing and utility stage.

HP POST 12dB/oct HP filter. Use to shave off low-frequency rumble or to protect your sub-bass.

LP POST 12dB/oct LP filter. Use this to roll off harsh high-end sizzle or to create a darker, distant spatial vibe.

MASTER LVL Controls the final global output volume of the plugin. expensive digital plate hardware

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Restrukt.1.0.2  ( 179 MB )

35 MB

The infamous FSU plugin is back! And yes, there’s finally a Mac version!
Glitch is an audio effect plugin for Windows (VST), Mac (VST and AU) and Linux (VST), available in both 32-bit and 64-bit formats. Featuring a new and improved sequencer which can play multiple effects simultaneously, with the ability to trigger unique scenes from every note on your keyboard, Glitch can be as gentle or as brutal as you like.

Features at a glance
Sequencer
Each program consists of 128 scenes that can be triggered via MIDI notes. Each scene has its own unique sequencer pattern, timing, and effect settings, allowing you to create tons of unique variations for every moment in your song, all ready to go at the press of a key!

Multi-lane sequencer allows many effects to be played simultaneously, to create interesting layered sounds.

Improved sequencer timing controls to better match your groove and song structure.

Intuitive pattern editor with drag’n’drop. Draw, erase, resize, split and join blocks with ease.

Effects
A collection of cheeky little effect modules designed to slice, dice, chop, screw, twist, turn and mangle your sounds into radical new forms.

Tempo-synced effects can easily be dialled in to precise musical timings such as 16th notes, 8th note triplets, and so on.

Filter, mix, pan and volume controls on each module, to help shape and fine-tune the output.

Randomize, Mutate, Glitch!
Randomize and Mutate functions can be found at almost every level. Mutate a single effect to get slightly different parameter variations, or instantly Randomize everything in the entire scene to create unexpected, chaotic and inspiring results!

Video Demos

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Glitch.2.1.5  (  MB )

70 MB

Explore the world of stereo with Psypan 2, a stereo multi-effect that packs 17 pan modes into a single plug-in.

Built on the surprisingly popular binaural panner from the original GFM Psypan (2011), it now goes much further:

5 binaural panner (including 2-band and the new Psy-2 algorithm for true front-facing rotation),
3 clean volume-based modes with classic pan laws,
9 creative FX modes (Haas, Doubler, Chorus, µ-shifting, Peak Panner, Widener, and 3 M/S variants).
When a track needs life, width, or movement, just pan and browse the modes until you find exactly what the mix calls for.

Binaural Pan Comparison (Headphones required)

Playing with ITD (Headphones required)

7 Modes (Headphones required)

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Psypan-FREE-2.0  ( 71 MB )

30.8 MB

Modular sound glitcher/mangler. Mango is a rubber step sequencer of up to eight lanes, each driving one effect. You draw blocks on a lane’s strip; while the playhead is inside a block, that lane’s effect is processing; outside it, the lane is transparent. So you paint when each effect happens, in time with the host, and the lanes stack into a chain from top to bottom.

The character is seeded randomness. Effects that need a rhythmic rate don’t take a fixed value: you weight how likely each note length is, and the actual rate is drawn per block. Every draw is a pure function of the seed, the lane and the block, so a pattern always plays back identically (in real time and in an offline bounce alike), and changing the seed re-rolls everything at once.

Getting started
1. Insert Mango on a track that already has sound going through it (it is an effect, not an instrument).
2. Drag across empty space on a lane’s strip to draw a block, then press play (the lane’s effect fires while the playhead is inside it).
3. Click the block to select it (highlighted): the right column shows that lane’s effect knobs, and the block overrides field at the bottom lets you retune this one block with a line of text (see below).
4. Change a lane’s effect with the dropdown in its header; reorder lanes with the ▲▼ arrows (order is the processing chain); use M/S to mute/solo.
5. Turn the Seed knob to re-roll every random choice at once; set Steps and the step size to size the grid.

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Mango.0.1.0  ( 31 MB )

26.5 MB

Glitch and Stutter Audio Effect. Drox II Pro is a versatile multi-effect device designed for creative audio manipulation in real time. It combines four powerful engines that can be used independently or together, giving you total control over rhythm, pitch, texture, and timing.

Dropout
Instantly chops or mutes the audio for rhythmic or glitchy effects. You can sync dropouts to tempo or trigger them manually for precise timing.

Jump (CD Skip)
Simulates tape or CD skipping, creating abrupt jumps forward or backward in the audio. Perfect for glitch, stutter, or rhythmic rearrangements.

Tape Stop
Emulates classic tape slowdown effects, with adjustable start/stop times and tempo-synced behavior. Includes modulation for both realistic and experimental pitch and rate changes.

Stutter — From Full Chaos to Complete Control
The Stutter Engine redefines repetition and rhythm, offering granular-level control over every repeat. It can move effortlessly between unpredictable chaos and precise, sequenced design, making it a true centerpiece for creative sound manipulation.

Each repeat runs through a complete per-repeat processing chain, giving you full sonic control:

1. Pitch Section: Individual pitch shift, pitch spread, pitch bend, and vibrato per repeat.
2. Modulation Stage: Add FM (PM) modulation for metallic or expressive tonal motion.
3. Distortion Stage: Four per-repeat distortion types — tanh, hard clip, wavefold, and bitcrusher — for everything from subtle drive to total destruction.
4. Filter Stage: Apply low pass, band pass, high pass, formant, or comb filters, all per repeat.
5. Panning: Set individual panning positions for each repeat to create detailed stereo motion.
6. Reverb: Add per-repeat reverb to place specific repeats in space or create evolving depth.
7. Envelope Shapes: Choose different window envelope curves to sculpt attack, decay, and transient emphasis.
8. Sequencing: Use dedicated sequencers to compose every repeat like a musical pattern, with the ability to save and load sequencer data for instant recall.
9. Randomization Systems: Multiple randomization modes per repeat, including fully random and probabilistic systems, allowing control from total unpredictability to subtle variation.
10. Tempo Synchronization: All parameters can be synced to project tempo for precise rhythmic control.
11. Simplified Stutter Layout for a faster workflow, providing essential stutter controls for quick creation and triggering without the distraction of advanced settings.

The Stutter Engine gives you the power to go from full chaos to complete control, producing anything from wild glitch bursts to meticulously crafted rhythmic patterns — perfect for sound design, remixing, and live performance.

Highlights
– Each engine can operate independently or together for complex, layered processing.
– Tempo-synced or manual triggering options for all engines.
– Extensive per-repeat and per-event sequencing in the Stutter Engine.
– Advanced randomization systems with fully random or probabilistic behavior.
– Save, load, and recall presets for both global settings and sequencer configurations.
– Snapshot System for saving individual module settings and recalling them instantly, with support for triggering snapshots from the DAW piano roll or an external MIDI controller.

Drox II Pro is made for producers, sound designers, and live performers who want to transform audio in real time with precision, creativity, and a balance between chaos and control.

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Drox.II.Pro.1.1.0  ( 27 MB )

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 )

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 )

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 )