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 )

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 )

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 )

4.55 MB

Real-time glitch, stutter & texture engine for producers who don’t wait for the drop — they detonate it. Six glitch modes, fully automatable, tempo-synced. Completely free.

What is Glitch in Time?
Glitch in Time is a free VST3 glitch plugin for Windows that lets you apply real-time glitch, stutter, crush, and scatter effects to any audio source inside your DAW. Whether you’re producing electronic music, hip-hop, experimental, or sound design, Glitch in Time gives you six distinct glitch engines — all tempo-synced, all automatable, all free.

Unlike traditional glitch tools that work destructively, Glitch in Time processes audio in real time. You can fire glitch effects mid-performance, automate every parameter, and MIDI-map every knob for live control. It also includes a resonant metafilter with auto-wah, bit crusher, granular delay, and 4-band spatial width control — making it a complete glitch and texture processing suite in a single plugin.

Features:

6 glitch modes
Stutter · Crush · Modulator · Gater · Stretcher · Scatter

Tempo-synced
Lock rate to 1/2 · 1/4 · 1/8 · 1/16 · 1/32 notes

Metafilter + auto-wah
LP/HP/BP · LFO · envelope-follower auto-wah

Bit crusher
Clean 16-bit down to gritty ~1.5-bit

Granular delay
Pitch, spray & feedback controls

4-band spatial width
Stereo-width + auto-panner per band

Full automation
Every knob automatable & MIDI-mappable

MIDI trigger
Fire glitches & play the buffer from MIDI notes

System Requirements:

Format
VST3 (64-bit)
Standalone application

Compatible DAWs
Ableton Live
FL Studio
Reaper
Cubase / Nuendo
Studio One
Bitwig Studio
Any VST3 host

System
Windows 10 / 11
64-bit only
~5 MB download
Intel or AMD CPU

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GlitchInTime-1.1.0  ( 4.55 MB )

174 MB

A multi-fx randomizer for creating wild, unpredictable results. Chance is a randomized FX processor with dozens of different effects chains split into four categories: delay, modulation, reverb and harmonics. Pick the amount of each that you want, and then give the duck a squeeze to mush it all together with some multi-band compression and limiting!

Blend each effect in to taste
With presets for each effect in solo, once you get a sound you like, flip through them and see what each effect is adding. The combinations are limitless. Saving a preset does NOT save the sound itself, only the blend of that randomized effect.

No AI vibecoding, just purpose-built DSP in collaboration with AudioLoom
Every effect was chosen for its repeatability and reliability, so even the craziest presets still stay grounded. That said, they do get pretty crazy.

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Chance.1.0.6  ( 174 MB )

29.1 MB

Retrospect is a curve-driven time-warping effect. It continuously captures your audio into a rolling buffer and replays it through a curve you draw — a curve that maps real time to read position. A straight line is passthrough. Bend it, and time bends with it: freeze and snap, stretch and glide, stutter, reverse, or all of those inside a single beat.

The curve’s steepness is the playback speed. Flat sections hold the audio still; steep sections race through it or run it backwards; the shape in between glides between the two. Lock it to your host’s tempo grid, or re-fire it on every transient so each drum hit gets its own warp.

How it works
At each moment of playback, Retrospect reads from curve(t) × buffer length. Because the read head follows your curve instead of the clock, the slope of the curve becomes the instantaneous playback speed:
– Flat read head holds the sound freezes.
– Gentle slope slow scrub time-stretch and glide.
– Steep slope fast scrub skip and stutter.
– Downward slope reverse.

Features:
– Freeform curve editor — two fixed endpoints plus per-segment shaper handles. Double-click to add anchors; right-click to toggle smooth Bézier vs. hard-angle segments. A live cursor traces the warped read position and brightens with input level.
– Tempo-locked or transient-triggered — phase-lock the curve to the host grid (4 bars to 1/32), or reset it on every detected onset with adjustable sensitivity.
– Cycles (1–8) — repeat the curve multiple times per rate interval for fast stutter patterns at slow note values.
– Feedback — feed the wet signal back into the buffer for swells and self-oscillation.
– Wet-only FX chain — read drive filter bitcrush mix: tanh drive, a state-variable filter (LP/BP/HP), and a bit-depth + sample-rate crusher.
– Presets & theming — built-in and user presets, four accent themes, a resizable editor.

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Retrospect.1.0.1  ( 29 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 )

3.51 MB

anyFM is an effect that fm-modulates a sidechained signal onto a carrier signal.

For that, it naturally must be placed on a mixer track that has another track routed to it via sidechain.

You’ll thus need two sounds, the track anyFM is inserted on acts as the carrier and the sidechained track is used as the FM modulator.

The controls are mostly self-explanatory:

Modulation Rate controls the FM depth/strength,

the remaining knobs handle volume balance.

In addition to FM, you can also switch to Ring Modulation.

IMPORTANT!!!

Make sure your routing is set up correctly.

Incorrect routing can result in unintended behavior, most prominently self-FM, where you in fact modulate the carrier with itself and not with the sidechain.

FOR ACTUAL FM OF THE SIDECHAIN INPUT AS MODULATOR, YOU MUST SET THE INPUTS LIKE THIS, AS EXPLAINED FOR FL STUDIO (I also include a video for these steps in the download):

Insert anyFM on a mixer track.

Route another mixer track to this track and set it to Sidechain:

At the bottom of the mixer, select the track you want to use as the modulator.

Click the small upward arrow to sidechain it.

Turn the send volume down to 0 for a pure sidechain signal.

(Optional) Unlink the sidechain track from the Master to make it behave like a true FM modulator, similar to an FM synth.

THEN, THIS IS THE IMPORTANT PART TO MAKE IT WORK: Open the plugin wrapper settings (the cog icon above the plugin GUI), go to Processing, and click Auto map inputs.

Now anyFM is live and waits for sound input on both channels.

Hope it works well! Have fun with it!

Made by aquanode with the help of Claude AI.

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anyFM VST  ( 5 MB )