12 MB

YS-Doubler is a stereo doubler based on a modified Haas effect for precise control of the stereo field width in a mix. This plugin solves the key problem with the classic Haas effect: instead of a static delay, it applies dynamic, alternating delays relative to the undelayed signal, synchronized to the project tempo. This alternation (left channel + delay in the right, right channel + delay in the left) achieves natural stereo widening without shifting the apparent volume to one side.

Main parameters:

*Haas* – setting the desired delay value to create a stereo effect.
*Rate BPM Tempo* – syncs the delay modulation rate to the project tempo for a rhythmically consistent effect.
*Swing Clock* – introduces a rhythmic deviation from the clear grid to give the effect a more “live”, musical character.
*Pre Delay* — a pre-delay that controls when the trigger fires: at a value of +10 ms, the trigger skips the initial transients, preventing attack distortion.
*Lookahead* – Predictive triggering (up to -10ms) allows precise positioning of processing relative to the beat and maintains signal dynamics.
*Widening* — controls the degree of expansion of the stereo field for flexible adjustment of the spatial image.
*Bass Mono* — limits the stereo effect in the low-frequency range: frequencies from 10–250 Hz remain in mono, which increases mix stability and compatibility with different playback systems.
*Swap Channels* — channel inversion for fine-tuning the balance and spatial arrangement of elements.
*Invert Phase* — flips the phase of the delayed signal by 180° to correct phase interactions and control the resulting frequency response.
*Volume* – adjusts the output signal level for precise integration of the effect into the mix.
*Smoothing* — select a smoothing algorithm for transitions, minimizing artifacts and clicks when the trigger is activated.

YS‑Doubler is suitable for working with vocals, guitars, keyboards and other instruments where you need to widen the stereo image without losing the clarity of transients and without the risk of phase problems in the low-frequency region. *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.

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YS.Doubler.1.0.1  ( 12 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 )

325 MB

Evil Otto is our free take on the OTT-style multiband compressor: aggressive upward-and-downward compression that squashes a sound into place and makes everything feel louder, denser, and a little unhinged. Three bands, independent thresholds, gain-reduction metering, and a sidechain input. Drop it on a bus, a synth, a drum loop, or a whole mix and lean on it as hard as you like.

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Evil.Otto.1.0.0  ( 326 MB )

44.20 MB

Drum Processing Plugin
Every preset has been meticulously handcrafted through hours of precision analysis, critical listening,
and fine tuning. Each frequency point has been individually optimized to deliver exceptional punch, clarity,
depth, and authentic analog character.

Frequency Control
Dedicated Low Cut and High Cut filters, operating from 10 Hz to 20 kHz, provide precise tonal
shaping and complete frequency control for every drum element.

Air Control
Shape the entire drum bus instantly with a smooth ±12 dB spectral tilt, allowing brighter highs
or warmer lows while maintaining a natural and musical balance.

Analog Saturation
Inspired by legendary Class-A analog preamps, Drums God generates rich harmonics, warmth,
density, depth, and musical punch through advanced analog circuit and transformer modeling.

Oversampling
2x — Optimized for everyday production with low CPU usage.
4x — Recommended for critical mixing sessions.
8x — Maximum processing accuracy with ultra-low aliasing for professional production environments.

Note: You must register on the website to use the plugin, and you can log in to the plugin using those details.

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Drums.God.1.0.0  ( 44 MB )

42 MB

The virtual version of this historic Italian synthesizer, created by myself and Marco Molendi, can be downloaded for free.
CRB URANUS 1: for those who saw it and for those who weren’t there
After years and years of video collaboration with the SM Strumenti Musicali YouTube channel, where I dedicated myself to other people’s projects, finally – and with great pride – I present to you a project that sees me as the protagonist in collaboration with a great technician and a very dear friend like Marco Molendi .

This project had been in the air with Marco for some time: it was the emulation of an Italian synthesizer that – as the title of the chapter suggests – few have seen and probably some have only heard of. In SM Strumenti Musicali columns such as Arranger Legacy and Synth Legend , we have often mentioned a long-defunct Italian brand like CRB Elettronica of Ancona , founded in 1948 by Duilio Borsini . The writer had the opportunity to work at CRB in his youth in the mid-1970s, doing the so-called apprenticeship. Like many companies in the Marche region of that period, CRB also mainly built electronic organs , but the company’s research and development laboratories also studied new and ambitious projects aimed at attracting musicians and dealers. Among these projects was the rather “courageous” one for a synthesizer, which at the time was gaining new enthusiasts, thanks to creations arriving from overseas such as those by Moog and ARP.

Today, with modern technology, discussing the idea of ​​building a synth is no longer scary , but believe me, in the mid-seventies, just talking about a project like that made industry insiders turn up their noses . CRB ” got off to a flying start ” with a project that – nowadays – we would define as the fruit of a courageous “vision”. The CRB URANUS 1 was a “Monster” instrument in every respect, both in terms of features and overall dimensions. An instrument born to generate a “Wow!” effect in the enthusiast. Anyone who has read the two books co-written with my friend Riccardo Gerbi ( Volume 1 and Volume 2 ) will have seen the photos where I played it at trade shows and demonstrations of the time. Here I offer you a few nuggets of history and some characteristics of the URANUS 1.

But what are we talking about?
It was the first and only polytimbral (and therefore polyphonic) synth of its time made by an Italian company. Eight oscillators (divided into two pairs split across the keyboard) with a panel full of sliders and buttons for controlling and programming the various sections! An instrument that left an indelible mark on the writer’s memories, until the day my friend Marco Molendi and I decided to create it, to the delight of those who saw it and those who weren’t there.

The Genesis
The CRB Uranus 1 was the forefather of projects that later followed in the Italian company, namely the URANUS 2 , the Oberon and finally the Vega , a mammoth synthesizer that was never released (also due to its cumbersome size and weight). Only five URANUS 1 units were built , of which one remained in the company and four were distributed for demonstrations in Italy and around the world, but which never returned to CRB, due to the subsequent closure of the company for commercial reasons well described in my books.

Reconstructing a memory
I spent hours on the URANUS 1 at the company, preparing various demonstrations for trade shows and events. My experience with that model fueled curiosity , study, and memories. Memories I’ve pursued for years, based on the sonic and technological experiences I’ve experienced throughout my career in this industry. Starting from these very memories, Marco Molendi and I challenged each other with a thousand and one questions: What was it made of ? How did it sound? What was its musical logic?

Marco and I began researching the technical possibilities to make this dream come true, but he, a truly great musician, already knew where to start. I tried to convey to him all my information , my memories, and my passion for that instrument. Marco accompanied me on this quest and, like a true enthusiast, he set out to shape it into software variants day by day, slider by slider, oscillator by oscillator.

Below you can see the graphics of the original from which Marco then extrapolated the layout of the software interface!

True to the original!
Upon startup, the CRB URANUS 1 will appear like this on your computer:
Marco Molendi reproduced all the oscillators as well as the eight VCFs, VCAs, LFOs, and much more! The instrument offers a mirror image of all the features and a few added features typical of modern day utilities. Marco was also more generous than expected, equipping this variant with 10 programmable memories. (Back then, talking about memories was like spotting a UFO!)

Together we refined all the features with tempo sounds (including the Drum Machine), polytimbral priorities and much more.

Today, this pursuit of memory has become an easy-to-install software and… FREE . Yes, you read that right: FREE .

In the installer (currently only for the Windows platform ) you can select your preferred format (Standalone or VST 3 plugin), and you will also find the user manuals describing the various utilities and settings, as well as the 10 presets created by yours truly, with the relative descriptions and audio demos for each. The installer also includes a demonstration video , which you can see below.

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VST.Uranus  ( 42 MB )

16 MB

YS Chorus is a compact plugin for creating a chorus effect during mixing. Its simple and intuitive interface allows you to quickly adjust the sound to suit your track. The Depth and Rate knobs control the depth and speed of the oscillations, while the R button locks the Rate to the project tempo—handy for rhythmic effects.

Additional features:
Delay (0–30 ms) – for basic delays and the Haas effect.
High Pass (cuts off below 120 Hz) and Low Pass – to precisely shape the chorus frequency range.
LR-RL — swaps the chorus channels: helps to implement the Haas effect with the desired direction.
Wide – widens the stereo
Mono input – converts the panned signal into pseudo-stereo.
Phase Inversion – Inverts one channel 180° for flexible stereo imaging control.
Link – synchronizes the volume of the direct and processed signals.

Suitable for fine-tuning the stereo image and adding space – without unnecessary complexity. *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.

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YS.Chorus.1.0.0  ( 16 MB )

26 MB

Instant is a single-voice percussion plugin for electronic and dance music production. It loads with a default pattern already running for the selected instrument, removing the need to manually program a basic clap, snare, or hihat pattern at the start of a session.

Four instrument slots are available: clap, snare, closed hihat, and open hihat. Each includes a factory sample library, and users can load their own WAV or AIFF samples (44.1 or 48 kHz, 16 or 24-bit) by placing them in the relevant folder, where they are automatically categorized.

The sequencer supports up to 32 steps with variable pattern length, per-step velocity, shuffle and swing with per-step override, micro-timing nudge per step, a fill toggle, pattern reset, and a velocity randomizer with intensity control.

Sound shaping controls include pitch (±24 semitones), high-pass and low-pass filters (24 dB/octave), a shape envelope for attack or decay, reverse playback, and master output level.

Parameter locks allow pitch, filter, shape, shuffle, reverse, and micro-timing values to be set independently per step, in the style of Elektron hardware sequencers. Locked values are shown on the relevant controls during playback and are saved with presets.

Audio exports can be dragged directly to a DAW timeline / a clip, rendering at the project’s exact tempo and pattern length with all locks, filters, and shuffle settings included in the export.

Instant is free, with a resizable interface and a preset save/load system.

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Instant.1.5.0  ( 27 MB )

45.1 MB

Akai S900 filter plugin. Series 9000 includes the same sixth-order (steep!) low-pass filter made famous by a late 80s rackmount sampler. For fun, we threw in drive, resonance, and an envelope follower. Then we made it available as a completely free plug-in! Watch your fingers, this one will cut away the spectrum like a samurai sword!

Features:
– Low-pass filter with a steep, sixth-order sound characteristic
– Drive control for subtle to extreme distortion
– Resonance (Q) control for filter emphasis
– Envelope follower for adaptive cutoff modulation
– Light or dark color scheme for user preference

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Series.9000.1.0.1  ( 45 MB )

12.6 MB

YS-Translator is an audio mixing plugin that implements a three-band crossover with flexible adjustment of frequency limits and filter slopes. Key features:

Three-band signal separation* – adjusting the cutoff frequencies and slope of the low-cut filters allows you to create unique timbres that are unattainable with a standard equalizer.
*Flux controls on each band* add dynamics through subtle oscillations, creating interchannel differences and a spacious sound synchronized with the project tempo.
*Mono Mode* – Disables inter-channel differences in vibrations, focusing rhythmic movement in the center channel.
*Mix control* – mixes the direct signal with the processed one (split crossover), expanding the palette of frequency transformations.
*Random button* — generates random combinations of crossover settings and Flux parameters; the result can be manually adjusted and saved as a preset.
*Two operating modes* (Option switch): simplified with a limited set of parameters and advanced with full flexibility of settings.
*Reset button* — returns all parameters to their default values.
*Interactive tooltips* – when you hover over any control, a short description of its function is displayed.

The plugin is suitable for both subtly adding space to the overall mix and for radically transforming the timbre of individual tracks. *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.

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YS.Translator.1.0.0  ( 13 MB )

21 MB

Achieve commercial loudness. Keep the punch.
Shatter Clip is a high-performance, zero-latency visual clipper that pushes your drums, busses, and full mixes to professional loudness.

Keep your dB the same, but make it louder

By surgically shaving off microscopic peaks before they hit your master limiter, Shatter buys you massive amounts of free headroom without destroying your transients.

Stop guessing how much you’re clipping. Shatter’s 60-FPS glowing oscilloscope draws a “ghost” wave of your original audio, highlighting exactly what is being chopped off in bright pink so you can see your headroom in real-time.

🔥 The Engine:
Hard Clip: A brutal, digital “knock” perfect for making Trap and EDM drums cut through a mix.
Soft Clip: A smooth, transparent curve for natural dynamic control.
Analog Clip (Dual-Band): Our custom analog circuit splits your audio at 120Hz. It fattens your sub-bass with warm, asymmetrical tube saturation while keeping your high-end transients crystal clean.
Zero-Latency Oversampling: Keeps your audio free from digital aliasing without adding a single millisecond of delay.
Pristine Low-End: A built-in zero-latency DC Blocker strips out distortion mud, while an Absolute Safety Brickwall guarantees your signal never exceeds the ceiling.
Parallel Mix & Auto-Gain: Dial in the perfect amount of dry punch, or auto-match your output for brute-force RMS loudness.

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Shatter.1.01  ( 21 MB )