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 )

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 )

43 MB

ZL Spectrum Equalizer is a spectrum equalizer plugin.

ZL Spectrum Equalizer is a dynamic spectrum equalizer plugin with the following key features:

Unmatched Versatility: Sculpt sound with 9 filter types, 5 stereo modes, 7 variable slopes, and up to 24 linear-phase frequency bands.
Spectrum Dynamics: Experience precise frequency-domain dynamic processing that tracks and controls resonances across the spectrum, with adjustable threshold, attack, release, and knee width.
Powerful Engine: Tailor behavior and latency with different spectrum resolution settings, side-chain smoothing, and frequency-dependent attack/release skewing, all powered by a high-performance FFT engine.
Intuitive Workflow: Achieve fast, fluid equalization with a carefully designed interface featuring an interactive spectrum graph, smart collision detection, and smooth animations.

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ZL.Spectrum.Equalizer.0.0.2  ( 46 MB )

15 MB

YS-Mobile Bass — a plugin for adapting bass to mobile devices. YS-Mobile Bass is a specialized tool for preparing bass lines for listening on smartphones, tablets, and other devices with a limited low-frequency range. The plugin helps preserve rhythmic clarity and bass body where low frequencies inevitably get lost, through harmonic adjustments in the lower midrange—without artificially boosting the low frequencies.

Key Features

Bass Mono: A monophonic bass mode with a frequency range of 20–250 Hz. This control preserves the low-frequency component only in the center (mono) channel, removing it from the side channels. This improves bass stability and clarity on any playback system, including headphones and compact speakers.

**Harmonic toggle switches for rhythmic support**:
**63**: Adds a second harmonic to the center channel at ~126 Hz, -18 dB below the 63 Hz band. Allows you to preserve the rhythmic bass pattern on mobile devices.
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**125**: Adds a second harmonic to the center channel at ~250 Hz, -18 dB below the 125 Hz band. Improves rhythm intelligibility in low-frequency-limited environments.

**250**: Adds a second harmonic at ~500 Hz, -31 dB below the 250 Hz band. Provides subtle lower-midrange support without overwhelming the mix.

**Total Energy Control**: When switches 63, 125, and 250 are simultaneously engaged, the total energy in the lower midrange increases. For most situations, activating just one switch is sufficient—this avoids excessive density in this range.

Output volume fader (±6 dB) with VU metering (white LEDs): precise adjustment of the final signal level. The VU meter helps keep the level within the “working zone” and avoid clipping downstream.

**Harmonics Volume Fader (±6 dB) with VU metering (green LEDs)**: separate control over the added harmonic energy. This allows for subtle balancing of the “rhythmic signature”—either enhancing it in a dense mix or, conversely, making it barely noticeable.

Recommendations for use

*Processing Chain Positioning**: The YS-Mobile Bass section should be placed **before* the overall saturation. This ensures that the harmonics added by the switches will be properly processed by subsequent stages of the chain (including saturators), rather than being overloaded or masked.
**Practical approach**: Start with Bass Mono and one of the toggle switches (63 or 125 are often optimal). Choose the combination by ear, based on the target playback system—for example, typical mobile speakers.
**The point of harmonics**: It’s important to understand that the added harmonic will, by default, be 18 dB below the target level. This means it won’t add any “meat” to the midrange, but will merely provide a subtle rhythmic shadow. This isn’t about “making it thicker,” but rather about “leaving a trace of rhythm” where the headphones can still hear something. Using the harmonics volume fader, you can carefully adjust this balance without ruining the original idea of ​​a subtle backing.
**Working with levels**: Use the VU metering to keep the output level in a comfortable zone and ensure it doesn’t “fall out” of balance in the overall mix. White LEDs provide a clear picture of the main signal, while green LEDs separately indicate the contribution of harmonics, making them convenient for quick adjustments.
**Compatibility with Mixing Methods**: The plugin works well with approaches that emphasize a clear rhythmic foundation in the bass (including those stylistically close to folk rock and acoustically oriented mixes). It can be used as part of a mixing template, where levels and frequency accents are pre-calibrated to references.

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YS.Mobile.Bass.1.0.0.WIN  ( 6 MB )

YS.Mobile.Bass.1.0.0.MAC  ( 9 MB )

18 MB

A morphing multistage filter with chaotic colors
Heavy, gritty, banded, formed under pressure. A morphing multi-stage filter with colorful chaos. Two pre-filters into a saturating, pressurizing ladder — unpredictable and full of happy accidents. Made for drums, deep bass and textural noise, but it’ll morph into pads just as easily, or high-end analog-style sizzle in HP mode. Equal parts FX, instrument and sound-design tool.

morph pad – blend between whole-patch snapshots on an XY field; freely place points and glide between them live (XY is MIDI-mappable).
break / chaos engine – wavefolding, bitcrushing, clicks and more folded into the ladder – a playable nonlinear system.
high-quality ZDF transistor ladder + resonant SVF pre-filters, both stereo-detunable.
input-gated damping for transient sculpting and taming self-oscillation.
controls are MIDI-learnable (absolute and relative/modulation modes).
filter cutoffs playable by MIDI notes — per-stage channel selectors, glide, note-relative shifts.
coherent patch randomization and mutation.
custom UI builder — arrange your own control layout.
up to 8× oversampling.
lots of presets (try stacking two instances at ~0.5 mix each).

System requirements: Windows 10+, macOS 13.5+

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Gneiss.1.0.4  ( 18 MB )

16.4 MB

Dual-Filter Motion Lab. Toxic is a free dual-filter effect built for the KVR Developer Challenge 2026. It combines serial/parallel routing, three drive stages, analog and digital filter models inspired by the topology of a hardware VA synthesizer, LFOs, an envelope follower, and macro control in one performance-ready plug-in.

Filter concept
Toxic’s filter section is inspired by the topology of a legendary hardware VA synthesizer: a flexible dual-filter structure with serial/parallel routing, multiple analog-style and digital-style filter characters, and formant/vowel movement designed for animated sound design.

It is not a clone or an official emulation. The goal is to capture the workflow idea of a performance-oriented dual-filter synthesizer architecture and rebuild it as a free creative effect for modern DAW use.

Key Features
– Dual Filter Architecture — Filter 1 and Filter 2 can work in serial or parallel routing.
– Analog / Digital Filter Selection — Each filter can switch between analog-style and digital-style filter families.
– Multiple Filter Types — LPF, HPF, BPF, Notch, Peak, All-Pass, Comb, Buzz, Formant, and other character models.
– Three Drive Stages — Input Drive, mid-stage Drive 2, and Output Drive let you shape density before, between, and after the filters.
– Drive Character Choices — Tube saturation, diode clipping, germanium clipping, foldback, tape-style saturation, crunch, soft/hard clipping, bit crush, and decimation.
– LFO 1 / LFO 2 — Free-running or host-synced modulation with sine, triangle, saw, square, pulse, S&H, Perlin, stepped, damped, chirp, bounce, and ring-style motion.
– Envelope Follower — Drive the filter from the input signal with Attack, Hold, Decay, Release, Threshold, Scale, Amount, and Invert controls.
– Macro 1 / 2 / 3 — Assign multiple parameters to one performance control, including positive and negative modulation amounts.
– Expert / Perform UI — Use Expert mode for detailed patch design, then switch to Perform mode for large, direct controls on stage or during automation passes.
– Modulation Arc Display — Visual feedback around controls shows assignment amount and modulation movement.

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Toxic.1.0.2  ( 16 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 )

27.5 MB

Oscilloscope with built-in recorder.

Features:
– Sync, Free, and Scroll modes
– Smooth zoom and pan navigation
– Inter-instance sidechain routing and visualization
– Multi-instance signal overlay and summing
– Visual frequency filtering for low-end control
– Spectral waveform
– Headroom display with clipping indicator
– Sync to start mode (solution for Ableton Live PDC issues)
– Color themes and scalable GUI
– “Hold” function for waveform comparison
– Record audio and drag & drop it straight into your DAW
– Normalize, trim, and snap recorded audio to grid
– Advanced configuration via overrides.json
– Reaper embedded integration

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Scyllascope.1.3.0  ( 28 MB )

35 MB

Built for precision, fast to use
From a quick high-pass to a surgical de-ess, EQ Pro keeps the curve, the maths and the sound in perfect lock-step.
EQ Pro What you draw is exactly what you hear.
A transparent, surgical equalizer with up to 24 dynamic bands, Mid/Side and Left/Right per band, selectable phase, and a real-time analyzer. No analog colouring, no guesswork.

Everything in one EQ
Built for precision, fast to use
From a quick high-pass to a surgical de-ess, EQ Pro keeps the curve, the maths and the sound in perfect lock-step.

Interactive curve
Double-click to add a band, drag for frequency and gain, scroll for Q or slope. The handle never jumps, even when bands overlap.

A compressor per band
Each bell or shelf is a full compressor on its own frequency and Q: threshold, ratio, knee, attack, release. Tame a resonance only when it rings.

Mid/Side & L/R
Route each band to Stereo, Mid, Side, Left or Right. The curve splits into colour-coded lanes so you see every placement.

Three phase modes
Zero Latency and Natural Phase for tracking and mixing, Linear Phase for mastering where phase smear must stay at zero.

Real-time analyzer
A smooth, log-frequency spectrum behind the curve, pre and post, so you find the problem before you reach for it.

Tone-only dynamics
Auto Gain folds in each dynamic band’s live move, deterministically, so the dynamic EQ changes the spectrum without changing the loudness. Never a second compressor.

External sidechain
Drive any dynamic band from an external source, per band, for ducking and frequency-conscious control.

Oversampling
Optional 2x or 4x for clean behaviour near Nyquist on steep, high-frequency moves, with a low-latency design.

Gain Scale
One dial scales the whole EQ from flat to double. The curve and every readout follow, while your per-band values stay intact.

A curve that never lies
The drawn response and the processed audio share the exact same filter maths. Move a handle and the sound moves with it, to the decibel.

Up to 24 freely typed bands
Bells, shelves, low/high cuts, notch and a true Tilt
Symmetric constant-Q: a cut mirrors the boost exactly
Drag values or type them in, kHz and all
A compressor in every band
Control that only acts when needed
Static EQ dulls the whole track. A dynamic band only engages over its threshold, and it listens to exactly the frequency and Q you drew, so it fixes the problem and leaves the rest of the performance alone. Reveal FULL and it is a complete compressor on that band.

Threshold, ratio (to brickwall), knee, attack, release per band
A per-band meter: level, threshold marker and live gain reduction
Gain is the range; absolute threshold, decoupled
Internal or external sidechain, per band
Stay at the right level
Spectrum changes, loudness doesn’t
Auto Gain matches the output for an honest bypass, and it folds in what the dynamic bands are doing, deterministically, so a dynamic move changes the tone without changing the loudness. You judge tone, not level.

Auto Gain follows the dynamics, with no detector of its own
Gain Scale: 0 to 200 %, the curve follows in real time
Input and output trim with stereo metering
True bypass for an instant A/B
Specifications
The details
Bands
Up to 24, individually automatable
Filter types
Bell, Low/High Shelf, Low/High Cut, Notch, Tilt
Cut slopes
6 to 96 dB/oct
Dynamics
Full compressor per band: threshold, ratio, knee, attack, release, ext sidechain
Routing
Stereo, Mid, Side, Left, Right per band
Phase
Zero Latency, Natural, Linear
Oversampling
Off, 2x, 4x (low latency)
Analyzer
Pre / Post, log frequency, smoothed
Gain tools
Gain Scale, deterministic Auto Gain (follows the dynamics)
Formats
macOS (VST3, AU), Windows (VST3)

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Jeesonic.EQ.Pro.0.1.0  ( 35 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 )