148 MB

Found another interesting plugin for the studio setup! The Cymatics LC-76 Vintage Compressor is a classic-style compressor designed to add character, control dynamics, and bring more energy to recordings and mixes. It’s the kind of plugin that can be useful on vocals, drums, bass, guitars, or even a full mix when you want a tighter and more polished sound.

I’m always interested in trying different compressors because small changes in attack, release, ratio, and input level can completely change the feel of a track. A good compressor can make a performance sound more consistent while still keeping it lively and natural.

The LC-76 has that familiar vintage-inspired look and workflow, which makes it especially appealing for anyone who enjoys old-school studio processing. Whether you’re producing music, mixing tracks, recording vocals, or experimenting with sound design, compressors like this can be a great addition to the creative toolkit.

Definitely one to explore when building a versatile plugin collection.

What’s your favorite compressor plugin for vocals, drums, or mixing? Share your recommendations below! 👇

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Cymatics.LC-76.1.1.0  ( 148 MB )

50 MB

MIDI Shredder Plugin Instantly Convert Audio into MIDI Notes in Seconds

Shred Any Audio Into MIDI Notes with 1 Click and Drag
MIDI Shredder is a creative utility plugin that instantly converts any audio into playable MIDI, all through the look and feel of an office paper shredder.

Just drag an audio file directly into the top of the machine and watch it get “shredded” into MIDI notes in real time, transforming melodies, vocals, basslines, guitar riffs, and samples into MIDI compositions you can completely reshape.

Whether you’re extracting inspiration from loops, rebuilding melodies from old ideas, finding basslines or generating instant starting points for new songs, MIDI Shredder turns audio into usable MIDI in seconds with a workflow that’s surprisingly addictive.

How does MIDI Shredder work exactly?
Drop any audio file into the shredder slot and MIDI Shredder automatically analyzes the pitch information inside your sound.

As the file feeds through the machine, the audio visually transforms into shredded MIDI note strips that spill out into the collection bin below, ready to drag directly into your DAW’s piano roll.

Use it to recover chords from samples, turn vocals into synth leads, convert guitar ideas into MIDI instruments, or completely reinterpret existing audio into something brand new.

It’s fast, satisfying, and one of those tools that instantly sparks new ideas the second you start throwing sounds into it.

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Cymatics.MIDI.Shredder.1.1.0  ( 50 MB )

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 )

69 MB

The Cymatics.fm NC-73 is a vintage-style equalizer VST plugin made by Cymatics.fm that emulates the classic Neve 1073 analog console sound, combining retro hardware character with modern digital controls.

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Cymatics.NV73.1.1.0  ( 69 MB )

135 MB

Gravity Channel brings the everyday tools of a mixing chain together in one calm, precise front panel: input trim and polarity, a high-pass filter, a three-band EQ, a smooth compressor, a harmonic BLOOM stage, and a clean output trim. It is built to sit on any track and do the ordinary jobs well – shape tone, control dynamics, add weight or air, and set level – without leaving the strip.

Left at its defaults it stays neutral and transparent, letting the source speak. Color is something you add deliberately, in measured amounts. The three-band EQ is voiced to be easy on the ear: gentle LF and HF shelves (each with two switchable corners) and a swept mid with a proportional Q that stays broad on small moves and grows more focused on larger ones. The compressor is a natural, smooth VCA design with RMS detection – a fixed 2:1 ratio, soft knee, and a fast fixed attack that lets transients through cleanly.

BLOOM is GANUE’s harmonic output stage. It adds gentle, program-dependent second- and third-harmonic content in the spirit of classic Class A transformer output stages, with two voicings: Air for sheen and openness, Body for weight and warmth. A little goes a long way.

Metering is generous: a live EQ-curve display, a scrolling gain-reduction history, IN/GR/OUT bar meters, and an analog VU (switchable IN/OUT/GR). On stereo tracks you also get stereo width and a mono-maker as final stereo shaping.

Free. No iLok, no activation. macOS and Windows.

Feature list

Complete channel strip: input trim + polarity, HPF, 3-band EQ, compressor, harmonic stage, output trim
Musical 3-band EQ: LF/HF shelves with switchable corners, swept proportional-Q mid, +/-12 dB per band
Smooth VCA compressor: 2:1 ratio, soft knee, RMS detection, PRE/POST placement, sidechain high-pass, stereo link
BLOOM harmonic stage: Air and Body voicings, transformer-style 2nd/3rd harmonics, Amount control
12 dB/octave high-pass filter
Stereo width and mono-maker (on stereo tracks)
Rich metering: EQ curve, GR history, IN/GR/OUT bar meters, and an analog VU (IN/OUT/GR)
Per-instance analog channel variation (1-72) for subtle track-to-track character
Up to 8x oversampling, with separate realtime and offline (render) settings
Discrete UI scaling 100-200% and an Advanced compact mode
Factory presets for vocals, drums, bass, guitar, keys, buses, and utility
Fully original artwork; ASCII-only on-screen text for host compatibility

Details / specifications

Developer: GANUE Audio
Version: 1.0.4
Formats: VST3 and Standalone (Windows and macOS); Audio Unit (AU) on macOS
Platforms: Windows, macOS
Price: Free (no iLok, no online activation)

Manual: shipped as a PDF inside each download zip (no separate hosting needed)

Release Notes

A small maintenance release focused on responsiveness. Reopening the plugin window is now effectively instant, and memory use is steadier when you open and close the editor repeatedly. Nothing in the audio path changed – projects made with any earlier version open and sound identically. Available as VST3 and Standalone (and AU on macOS).

Improved

Instant editor reopen

The knob and panel artwork is now decoded a single time for the life of a plugin instance and reused, instead of being decoded again every time you reopen the plugin’s window. On the reference machine, decoding that artwork takes about a second; with 1.0.3 it happens once per session rather than on every reopen, so closing and reopening Gravity’s window is effectively instant (a cached reopen measured well under a hundredth of a millisecond).

Because the artwork is shared rather than reloaded, opening and closing the editor many times no longer churns memory the way it used to.

Much faster loading, much smaller download

The plugin window now opens roughly 2.4x faster (measured 954 ms to 398 ms on the reference machine). The delay you saw the first time you inserted Gravity on a track is largely gone.

The download is less than half the size: 49 MB to 22 MB.

Gravity now uses about 110 MB less memory per instance for its knob graphics.

The knob artwork was re-sampled to the resolution it is actually drawn at. It was previously stored at nearly three times the size it is ever displayed, even at the largest UI scale. There is no visible difference — please do compare.

NOTES

Fully backward compatible with 1.0.0, 1.0.1, 1.0.2 and 1.0.3: same parameters, same presets, same sound. The DSP is byte-for-byte unchanged.

If your host caches plugin scans, do a full rescan so the 1.0.4 build is picked up.

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Gravity.Channel.1.0.4  ( 135 MB )

177 MB

Roland JV-880 Emulator. Emulator of a famous 1U rack unit rompler made by Roland in 1992, as a VST3 and AU plugin. Based on NukeYKT’s SC55.

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VirtualJV.1.0.1  ( 177 MB )

21.55 MB / 59.06 MB

EQC1A – A Great Tool for Better Sound

For music producers, having a reliable EQ can make a big difference in the final sound of a track. EQC1A is a plugin worth checking out if you enjoy shaping and refining your mixes.

A good equalizer can help clean up unwanted frequencies, bring clarity to vocals and instruments, add warmth to the low end, and improve the overall balance of a mix. The EQC1A interface shown here has a classic hardware-inspired look, making it feel familiar and easy to approach for producers who enjoy traditional studio equipment.

One of the best things about a dedicated EQ is the control it gives you. Instead of changing the character of an entire track with heavy processing, you can make careful adjustments and let each sound find its place in the mix.

Whether you are working on vocals, drums, bass, melodies, or a complete master, EQ is one of the most important tools in music production. EQC1A can be a useful addition to a producer’s plugin collection.

What do you think of EQC1A? Have you tried it in your productions? Share your experience and your favorite EQ plugins below!

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Cymatics.EQC-1A.1.1.0  ( 81 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 )

151 MB

Stop stacking plugins. Start charging your mix.
DUEL is a high-performance, three-stage dynamic engine designed by Hollywood composer Nick Road to inject massive sonic weight and analog heat into modern cinematic scores. Combining adaptive VCA-style compression, rich harmonic saturation, and an unyielding brickwall True Peak limiter, DUEL provides the ultimate workflow shortcut to deliver broadcast-ready loudness and absolute peak control under strict studio deadlines.

Problem And Solution
“In the world of modern cinematic scoring, your tracks don’t just need to be loud – they need to be massive, deeply dramatic, and wide, without clipping your master bus.”

When you are stacking massive brass rows, hybrid sub-booms, and aggressive sound design elements, standard processing chains break down. You squash the orchestral transients with a compressor, lose the low-end definition of your sub-booms with heavy saturation, or crush the dramatic tension out of your mix at the limiter stage.

DUEL stops the compromise. Designed by trailer composer Nick Road to handle the extreme dynamic requirements of modern blockbusters and AAA game scores, DUEL bridges the gap between raw cinematic power and absolute signal control. It acts as a three-stage energy injector that forces your cue to punch through dense orchestral arrangements and SFX-heavy game environments without killing your headroom.

Anatomy And Feautures
Three-stage dynamic energy charger built for modern cinematic scores.

STAGE 1: THE CHARGER (Smart Compression)

The Sonic Engine: An adaptive, high-tension compressor built to glue dense instrument groups and hybrid master tracks together. It instantly identifies the core weight of your signal, enhancing the perceived loudness and tightening low-end transients without pumping or choking your mix—keeping your fast-paced action cues entirely coherent.

STAGE 2: THE RIFT (Saturator & Harmonic Exciter)

The Sonic Engine: Inspired by premium analog hardware drive circuits. It injects rich, even-order harmonics that add physical grit, midrange definition, and expensive top-end sheen. Perfect for transforming thin hybrid synths, cold orchestral samples, or custom sound design elements into a massive, cinematic wall of sound.

STAGE 3: THE SHIELD (Brickwall Limiter & Peak Control)

The Sonic Engine: The final, unyielding line of defense. You covered by transparent, smart brickwall limiter. It drives up your final RMS and LUFS levels while preserving vital front-end transient detail, ensuring your audio remains safe from digital clipping.

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DUEL.LT.1.0.3  ( 189 MB )

62 MB

CL-2A Vintage Compressor

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Cymatics.CL-2A.1.1.0  ( 62 MB )