47.7 MB

Stereo Channel Strip. Violet Crown is a stereo channel strip built around the EQ and compression character that defined the sound of major-label bus processing. Three independent EQ bands – each with separate boost and cut controls – feed a custom RMS compressor with program-sensitive auto-release. The VU meters are real, the ballistics are analog, and the whole thing is free. No demo mode. No time limit. No license key. Drop it on a bus and play something.

Features:
– Combines a three-band EQ with a custom RMS compressor.
– EQ bands have separate boost and cut controls with frequency selectors.
– Low band: two independent shelves (20 Hz to 100 Hz).
– Mid band: two peak filters (200 Hz to 5 kHz) with shared Q.
– High band: two independent shelves (800 Hz to 16 kHz).
– Input trim (-8 dB to +8 dB) and EQ/compressor routing toggle.
– Compressor with RMS detection, auto-release, and per-channel processing.

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Violet.Crown.1.0.0  ( 48 MB )

8.11 MB

A little Polish candy for crowded low-mids. SK Krowka is a Mid/Side phase processor designed to help reduce the perception of congestion in the low-mid range.

In many mixes, the area between approximately 150 Hz and 500 Hz accumulates energy from vocals, guitars, keyboards, reverbs and supporting instruments. This buildup can make a mix feel crowded, less open and harder to listen to.

Rather than relying on conventional equalization, SK Krowka uses a musically tuned phase process. Its goal is not to remove frequencies, but to help them coexist more comfortably.

The result can be a mix that breathes more naturally, feels more spacious and is simply more enjoyable to listen to.

How It Works
SK Krowka is based on the notes of the chromatic scale.

The selected note determines the reference frequency used by the algorithm. The processing then operates around that note and its harmonics within the low-mid region.

This allows the processor to be adapted to the musical key rather than an arbitrary frequency setting.

Controls
TONE
Selects the musical note used as the processing reference.

C C# D D# E F F# G G# A A# B

Recommended Method

If you know the key of the song, start by selecting that note.

Examples:
– A minor song -> A
– D major song -> D
– G minor song -> G

This usually provides the most natural and musically coherent results.

You may then experiment with neighboring notes to fine-tune the effect.

If the key is unknown:

Simply audition the different positions and choose the one that provides the greatest sense of openness, clarity and listening comfort.

AMOUNT
Controls the processing intensity.
– Low: subtle and transparent
– Medium: noticeable enhancement
– High: stronger and more creative effect

For mix bus applications, moderate settings are usually recommended.

OUTPUT
Adjusts the output level.

Use this control to maintain equal loudness when performing A/B comparisons.

ON / OFF
Engages or bypasses the processing.

Regular comparisons remain the best way to evaluate the effect objectively.

Typical Applications
SK Krowka may work particularly well on:
– Mix bus
– Guitar buses
– Keyboard buses
– Synthesizers
– Pads
– Reverb returns
– Dense arrangements suffering from low-mid congestion

It can also be used creatively on individual tracks.

macOS Security
SK Krowka is built as a Universal Binary and supports both Intel and Apple Silicon Macs.

Depending on your macOS security settings, you may need to authorize the plugin manually the first time it is loaded.

Notes
SK Krowka primarily affects spatial perception and phase relationships within the low-mid region.

The audible result depends on the material being processed. On some mixes the effect may be subtle, while on others it can be immediately noticeable.

SK Krowka is not intended to replace an equalizer. It is a complementary tool that approaches low-mid congestion from a different angle.

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SK.Krowka.1.0.1  ( 8 MB )

201 MB

Annulus is a polyphonic resonator and effects engine built for sound designers who think in texture, not presets. At its heart is a faithful implementation of the physical modeling engine behind Mutable Instruments’ Rings — one of the most celebrated modules in the history of Eurorack — paired with a full effects chain and a visual interface that breathes with the sound.

Six modes. Six physical models. Six complete sonic identities.

The engine
Annulus routes your signal through four linked processors:

Rings: a MIDI-driven polyphonic resonator based on Mutable Instruments’ Rings, running six distinct physical modeling algorithms. Eight voices spread across the stereo field with velocity and position randomization for organic variation on every hit.

Spiral: a stereo tape delay with tempo sync, ping-pong routing, wobble modulation, and saturated feedback.

Velvet: an algorithmic reverb with shimmer, diffusion, ducking, and a four-second tail.

Distortion: twelve waveshaping models at 2× oversampling, from soft tube warmth to asymmetric fuzz.

Four macro knobs: Morphe, Aigle, Nothros, Topos. Reach across the entire chain simultaneously. One gesture shapes the resonator, the delay, the reverb, and the drive at once. Topos also integrates into the visualizer’s rotation, tying the image to the physics of the sound.

Morphosis

Modal resonator — the original Rings algorithm

The filter bank that made Rings famous. Morphe adjusts the stiffness and spacing of modal partials, moving from tight harmonic clusters into rich inharmonic shimmer while the fundamental stays anchored. Stable and musical, with warm amber tones on a burnt sienna background. The classic starting point.

Sympatheia

Sympathetic strings — ensemble in a box

Six virtual strings that retune themselves in response to incoming pitch, producing the swelling unison and shimmer effect of a sympathetic string instrument. Morphe sweeps the interval relationships; Aigle controls how quickly the strings glide into tune, from instant to languid and out-of-focus. Coral and maroon over a deep purple slate, warm and restless.

Bathmos

Karplus-Strong string — from wood to metal

A plucked string model with tunable dispersion. Near center, Morphe sounds like a natural string. Push it outward and the partials spread into clangy, bell-like inharmonicity. High settings introduce a stochastic noise into the delay line that gives notes an unpredictable shimmer, like a string that isn’t quite behaving. The only mode with per-slider macro colors: red, orange, green, blue on parchment white.

Anomalia

FM voice — ratio walks

FM synthesis inside the resonator. Morphe steps through a quantized table of carrier-to-modulator ratios, moving from clean harmonic intervals through irrational, clanging relationships. Aigle pushes the modulation index — low for pure tones, high for sideband-rich noise. Every Morphe position is a different instrument: marimba, bell, metallophone, something with no name. Pale cream on deep red, minimal and stark.

Donisis

Quantized sympathetic strings — chord engine

The sympathetic string model locked to fixed chord shapes. Where Sympatheia glides freely between intervals, Donisis snaps to presets — octave, minor, major, sus4, minor 7th, major 7th, and more. Morphe steps through eleven chord voicings; the current chord name displays beside the knob. Less a texture and more a harmonic tool — play a note, choose the chord it lives inside. Cool gray-green on silver.

Antron

String and reverb — ambient string

The Karplus-Strong model with an internal reverb baked into the resonator’s tail, before the signal reaches Velvet. The result is warmer and more diffuse than Bathmos — notes bloom rather than decay cleanly. Good for pads, atmospheric textures, and anything where the line between instrument and space should blur. Copper on near-black.

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Annulus.0.1.0  ( 200 MB )

9.22 MB

LINA is a fixed-voicing tube equalizer built for tone, color and musicality. It is not a surgical tool, nor is it designed to disappear into the signal path. Its purpose is simple: shape the sound, add character and make music a little more enjoyable.

Features:
– Four fixed EQ bands
– Tube-inspired saturation
– Dynamic tube bias behaviour
– Power supply sag simulation
– 4× oversampled tube processing
– Integrated EQ auto-gain compensation
– Input/Output linked gain staging
– Stereo peak meter
– VST3 (Windows & macOS)
– Audio Unit (macOS)
– Intel & Apple Silicon support

Controls:
WEJŚCIE (Input)
Controls the signal level entering the tube stage. Higher settings generally increase coloration, harmonic content and overall attitude.

NISKIE (Low)
Adds weight, body and foundation.

NISKI ŚRODEK (Low Mid)
Shapes warmth, thickness and low-mid character.

ŚRODEK (Mid)
Adds presence and forwardness. Not quite what you might expect from a mid control.

POWIETRZE (Air)
Adds brightness, openness and sparkle.

WYJŚCIE (Output)
Adjusts the final output level and can be used to compensate for gain changes introduced by the EQ and tube stage.

POŁĄCZ (Link)
Links the WEJŚCIE (Input) and WYJŚCIE (Output) controls. When enabled, increasing the input level automatically applies an opposite compensation to the output level, making it easier to explore the tube stage and compare different amounts of coloration without large changes in perceived loudness.

Meter
Provides visual feedback on the output level while shaping tone and driving the tube stage.

ZASILANIE (Power)
Engages or bypasses the processing.

Philosophy
LINA was not designed to be precise. The frequencies are fixed, there are no hidden menus, no complex routing options and no endless preset lists. Just a handful of controls. Turn them. Listen. Trust your ears.

Typical Applications
LINA may work particularly well on:
– Vocals
– Bass
– Acoustic instruments
– Drum buses
– Mix buses
– Synthesizers

And occasionally on sources where it probably shouldn’t.

macOS Security
LINA is built as a Universal Binary and supports both Intel and Apple Silicon Macs. Depending on your macOS security settings, you may need to authorize the plugin manually the first time it is loaded.

Notes
LINA is intended as a musical tone-shaping tool. If you are looking for transparent correction, there are many excellent equalizers available. LINA was built for the moments when transparency is not the goal. Like the engineer who may—or may not—have inspired it, LINA prefers character over perfection.

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LINA.1.1.1  ( 9 MB )

Size: 4 MB

Hey everyone!

After the XM Series mastering plugins, our roadmap was always going to expand toward mixing tools.

Well… that day has arrived!

Built upon the engineering philosophy and spirit of the XM family, you’ll notice what makes this tool special from the moment you start using it. Simple – Fast – Effective!

We tried to include everything you would want from a channel strip. With Xhannel S, you can shape your individual tracks with minimal need for additional processing stages.

Technical Features:

* Our newly developed internal anti-aliasing algorithm.
* A new button in the top bar for creating and managing presets.
* DEPTH is not a traditional double-track effect, signal duplication, or a time-based delay process. Instead, it creates spatial width by manipulating the signal’s phase in a way that behaves much more like real hardware. It is fully compatible with stereo signals.
* The Drive knob is unique. It features a custom curve shape. Rather than producing traditional digital clipping when a channel reaches its maximum level, the signal is progressively strengthened along a curve, similar to the behavior of individual channels on a console. With the Input knob, you can drive the signal harder into the existing curve, or you can turn up the Drive knob itself for a smoother tone. Note: Since the Drive knob also adds gain, we recommend balancing it with the Input control. There is virtually no audible aliasing.
* The EQ section can be controlled either through the knobs or directly from the spectrum analyzer. The ranges are intentionally defined, not as a limitation, but to make decisions easier by listening rather than looking. The simpler it is, the faster and more effective it becomes!
* The Dynamics module delivers the emotional response you want based on the selected parameters. Glue? That’s where it shines… Hard? ONLY IF YOU PUSH IT!
* The FILTERS section is ideal for quickly removing unnecessary frequency content.
* With our evolving technology, when multiple instances of Xhannel S are inserted across individual tracks, they communicate with one another. Just like a console!

You can access it completely FREE and support our projects whenever you wish:

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Xhannel.S.WIN  ( 14 MB )

Xhannel.S.MAC  ( 11 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 )

17.7 MB

28 Premium Filter Models with Real-Time XY Morphing. Quad Morph Filter is built for real-time sound design instead of the more static tone shaping. It lets you morph between up to four different filter models using an XY pad, with equal-power blending and several alternate morphing curves.

Analog-style filters: Moog Ladder, TB-303 Diode, SEM, MS-20 Screaming, CS-80, Prophet CEM3320, Oberheim SSM 2040, and Roland Jupiter-inspired filters.
Experimental filters: Formant, Comb Filter, Wavefolder, FDN Reverb, Bode Frequency Shifter, Z-Plane 2D Morph, Phased Array, Modal Resonator, Waveguide Mesh, and several digital precision filter types.

Features:
– Morph between up to four different filter models using an XY pad with equal-power blending
– Includes 28 filter models ranging from analog-style to experimental options like Formant, Comb Filter, and Wavefolder
– Four morphing modes: Equal Power, Linear, Smoothstep, and Radial
– Modulation system with 19 LFO waveforms, Recording mode for custom XY movement, and tempo sync options

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Quad.Morph.Filter.1.0.0  ( 17 MB )

9.20 MB

FALA is a vintage-inspired BBD chorus that embraces the character of old analog modulation devices. Gentle instability, subtle saturation, clock imperfections and organic movement combine to create a chorus that feels alive rather than programmed. It is not a laboratory recreation of any particular pedal. It is a memory of one.

Features:
– Vintage-inspired BBD chorus character
– Deep and Shallow modulation modes
– Analog-style saturation
– Clock drift and modulation instability
– Wow & flutter simulation
– Dynamic noise floor behaviour
– Compander-inspired dynamics
– Low-frequency preservation
– Stereo modulation engine
– 4× oversampled processing
– VST3 (Windows & macOS)
– Audio Unit (macOS)
– Intel & Apple Silicon support

Controls
SZYBKOŚĆ (Rate)
Controls the speed of the modulation. Slow settings provide gentle movement and width, while faster settings introduce a more obvious chorus effect.

GŁĘBIA (Depth)
Selects between two modulation ranges.

Shallow offers subtle movement suitable for everyday widening.

Deep increases the modulation depth for a more dramatic and unmistakably vintage chorus character.

MIESZANIE (Mix)
Blends the dry signal with the processed signal. Lower settings provide a touch of movement, while higher settings place the chorus effect more prominently in the mix.

WYJŚCIE (Output)
Adjusts the final output level after processing. Useful for matching levels when comparing different settings.

ZASILANIE (Power)
Engages or bypasses the effect.

Philosophy
FALA was not designed to be perfect. The modulation drifts, the clock is not entirely stable. There is a little noise and a little unpredictability. FALA aims for personality. Turn a knob. Play a chord. Let the wave do the rest.

Typical Applications
FALA may work particularly well on:
– Electric guitar
– Clean guitar arpeggios
– Bass guitar
– Synthesizer pads
– Electric piano
– Strings
– Background vocals
– Entire instrument buses

And occasionally on sources where it has absolutely no business sounding this good.

macOS Security
FALA is built as a Universal Binary and supports both Intel and Apple Silicon Macs. Depending on your macOS security settings, you may need to authorize the plugin manually the first time it is loaded.

Notes
FALA is intended as a musical modulation effect, not a transparent stereo widener. If you are looking for perfectly clean, mathematically precise chorus, there are many excellent options available. FALA was built for those moments when a little instability makes the music more interesting.

Somewhere, perhaps, a teenager is still soldering wires together in a small bedroom. This plugin is for him.

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FALA.1.0.1  ( 9 MB )

15.2 MB

Deep Evolving Pad Synth. Elysa Morph is a musical evolving pad/texture synthesizer designed for long, expressive, cinematic tones. It combines analog-style warmth, wavetable/granular detail, and spacious stereo movement in a single instrument.

Its core philosophy is simple: hide technical complexity, keep creativity immediate. Most advanced routing is intentionally under the hood, so you can shape rich sounds quickly without juggling dozens of controls. Instead of managing around 70+ parameters directly, you work through a streamlined macro workflow that stays clear, fast, and performance-ready.

Behind that minimal surface is a deep architecture with multi-engine synthesis, layered modulation, multi-stage filtering, and spatial FX. The result is an instrument that feels effortless to use, yet delivers complex, evolving sound design.

Feature Highlights:
– Dual character modes: ELYSA and WAELAR
– 3-engine architecture with deep synthesis behaviors
– 3 LFOs, 3 random modulators, and 3 ADSR envelope layers
– 3-stage filter structure for tonal sculpting and movement
– Built-in chorus/ensemble/dimension, delay, and reverb space design
– Macro-first workflow for fast, musical control
– Hidden advanced depth for complex internal motion
– 99 factory presets focused on evolving, musical pad textures

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Elysa.Morph.1.0.1  (15  MB )

63.3 MB

True-Peak Mastering Limiter. Trim up, check the meter, trim again. Volume Dealer removes the iteration. It measures your integrated LUFS as you listen, and when you click Set Level it applies the exact corrective gain in one step. No arithmetic, no back-and-forth. What you see while it measures matters too. Integrated, momentary, and short-term LUFS update in real time alongside gain applied, gain reduction, output peak, and latency – every data point you need to make a confident decision before you commit. The true-peak lookahead limiter holds the brickwall ceiling throughout, with optional 2x oversampling to catch inter-sample peaks that slip through at native sample rate.

Features:
– Measures integrated LUFS in real-time and applies exact corrective gain with one click
– True-peak lookahead limiter with optional 2x oversampling for inter-sample peak detection
– Full BS.1770 LUFS metering suite including integrated, momentary, and short-term LUFS
– Adjustable soft knee via Edge Rounding for less aggressive limiting on dense material
– Dual analog-style VU meters and dithering options for bit-depth conversion
– Input Trim and True Bypass for flexible mastering control

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Volume.Dealer.1.0.0  ( 63 MB )