4.82 MB / 12.63 MB

One sidechain plugin with four engines: a ducker that follows your kick, a tempo-locked volume shape you can draw, audio-rate ducking straight off the trigger’s waveform, and a spectral carve that only takes the bands the sidechain is using.

Four sidechain engines in one plugin, each solving the same problem a different way: getting your bass, pads and vocals out of the kick’s way.

DUCK: follows the signal
A ducker with 5 ms lookahead that reacts to what your kick actually does: its level, its timing, its groove. Attack, Hold and Release shape the response; Peak, ISP or RMS detection decides what “loud” means. Range goes past 100%, so quieter hits still duck hard. With nothing plugged into the sidechain it becomes a limiter against the threshold.

LFO: locked to the clock
Volume automation that ignores the sidechain entirely: a shape locked to host tempo, from 4/1 down to 1/32, that pumps identically every bar whether or not a kick plays. Saw, sine, triangle, square — or draw your own curve with breakpoints and bendable segments, snap it to the grid, and watch the playhead run through it. Trigger from the beat grid, or restart the shape on any MIDI note.

RING: sample-accurate, no lag
Audio-rate ducking: the trigger’s own waveform, rectified, becomes the gain.
No envelope follower means no attack or release lag — the input is driven down on the exact samples the trigger peaks on. Smooth rounds the edge when the zero-crossings get crunchy. Source switches between the sidechain and an internal oscillator.

CARVE: room in the spectrum, not the fader
Instead of turning everything down, a third-octave filter bank listens to the sidechain and cuts only the bands it is actually using. The two stop fighting over the same frequencies while the rest of your input keeps its level. Tilt weights the carving toward highs or lows; Smooth shares a cut with neighbouring bands.

WHAT’S IN IT
– Stereo sidechain bus, with a Stereo control from fully linked to each channel following its own side
– Mix and Output on every mode
– 5 ms lookahead, reported to the host and compensated — it never changes, so your host never restarts the plugin mid-session
– Every control is a host parameter, automatable by name; the drawn LFO shape saves with the project
– A level scope showing the input and the gain being applied to it

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Cider.0.1.0  ( 17 MB )

52.7 MB

Free Bus Compressor with Multi-Instance Control. Bring a mix together, give drums more punch, or blend in a little extra density. An independent take on British console bus compression — with connected control across your Gluon instances.

Open Gluon Map from any instance to see the settings and levels of connected instances. Adjust them individually, or use Global Control to make relative changes across them — lower every threshold by 1 dB, for example — without opening a pile of plugin windows. Remote controls and meters work even when those windows are closed.

Press Learn and play ten seconds of your material. Gluon compares the input with the compressed blend and sets a fixed MakeUp gain to bring their perceived levels closer. The gain then stays put while you listen and fine-tune.

The independent output stage offers Hard Clipper, Soft Clipper and Limiter modes, with Off / 2× / 4× / 8× oversampling. You can use it with or without the compressor.

You also get:
– Expanded attack, ratio and release choices, including Auto release.
– Dry/wet mixing and adjustable compression range.
– External sidechain, HP/BP/LP sidechain filters and stereo link.
– A/B comparison, Undo/Redo and user presets.
– Five factory presets as starting points.
– Light and dark themes, with interface scales from 0.75× to 2×.

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Gluon.1.0.0  ( 53 MB )

6.52 MB

Authentic 76-style FET compressor, modelled as the circuit. Feedback detector, a gain cell that bottoms out, and distortion that rises with the compression.

Features
– Two Controls: INPUT drives the signal past a fixed threshold, OUTPUT puts back what that cost
– Three Timings: FAST, NORMAL and SLOW select attack and release together
– Stepped Knobs: 21 detents each, 3 dB apart, 0 dB at the centre – hold Shift for 1 dB
– Full Metering: Stereo input and output peak meters plus a gain-reduction strip
– VST3 Automation: Full parameter automation support in DAWs
– Resizable UI: Right-click the panel for UI Zoom – 75%, 100% or 125%

FET Rack-Style Character
– Feedback Detector: Taken from the output of the gain cell, so the 4:1 is a closed-loop ratio that softens on its own near the threshold – no knee control needed
– One Sample of Loop Delay: The detector cannot see a sample until it has been through the cell, so the leading edge of a transient gets through
– Gain Cell That Bottoms Out: A hard floor at 38 dB of reduction; past that, driving harder buys distortion rather than compression
– Distortion That Tracks Compression: 0.02% at rest, 2.9% at 19 dB of reduction, because the device setting the gain is the device making the harmonics
– Four Amplifiers: Input transformer, gain cell, single-ended class-A preamp (2nd harmonic), push-pull class-A output into the output iron (3rd)
– Two-Constant Release: Fast and slow paths in parallel, the slow one weighted by how deep the reduction went
– Per-Stage Noise and Crosstalk: Every stage adds its own noise and leaks into the channel beside it; -40 dB total, -93.7 dBFS floor
– Component Tolerance: 2.5% per channel, so the two sides are never quite the same channel twice

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WetCompressor.1.0.1  ( 6 MB )

58 MB

CHILI CLIP: Visual FX Engine
The Sauce Behind Hard Hitting Mixes
Cymatics CHILI CLIP is a fast, punch-first soft clipper built to make drums hit harder, 808s feel heavier, and full mixes sound louder without flattening their energy.

Push your sound into the clipping stage with INPUT GAIN, control how aggressively the peaks get rounded with THRESHOLD, then use POST to set the perfect final level.

Three knobs. One visual graph. All heat.

The Sweet Spot Between Clean and Crushed
CHILI CLIP gives you the impact of aggressive clipping without immediately destroying the character of your sound.

As your signal crosses the threshold, harsh peaks are smoothly rounded down while the weight underneath is pushed forward. Drums become tighter, 808s feel denser, and entire mixes can reach a louder, more controlled level.

The extra sauce is INPUT GAIN. Instead of reaching for another gain plugin before your clipper, you can drive the signal directly into CHILI CLIP and hear exactly how the clipping stage reacts.

How Does CHILI CLIP Work Exactly?
CHILI CLIP smoothly rounds off the loudest peaks in your audio, giving you more control over the signal while increasing its perceived loudness and density.

The visual graph responds to your settings in real time, showing how the signal is being shaped as you adjust the controls.

There are no hidden pages or complicated menus.

Just drive it, clip it, and turn it down until it hits exactly right.

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Chili.Clipper.1.0.0  ( 58 MB )

32.7 MB

Stereo Clipper with XY Pad + Independent L/R & Mid/Side Control. The idea behind SURVIVE was to make clipping a little more controllable — not only in terms of how hard you push the signal, but also in how the character of the source responds as clipping increases.

You set the basic clipping with Input, Ceiling, and Knee, then use the XY Pad to shift the processing priority among four characteristics:

SUB – low-end weight
BODY – sustained midrange density
PUNCH – transient impact
AIR – high-frequency openness

SURVIVE can also process Left / Right or Mid / Side independently. Keep Link on when you want both components to move together, or unlink them to use separate Input, Ceiling, Knee, Mix, and Output settings.

The real-time waveform display aligns the input and processed waveforms on the same timeline and highlights the regions affected by clipping, so you can see what is actually happening to the signal while you listen.

For more detailed shaping, there are additional controls for Texture, Tone, Shadow, Shadow Time, Width, and Clean Sub.

Main features​
– Independent L/R and Mid/Side processing
– XY Pad for shaping SUB, BODY, PUNCH, and AIR priorities
– Real-time before / after waveform comparison
– Visual indication of the regions affected by clipping
– Input, Ceiling, Knee, Mix, and Output controls
– Texture, Tone, Shadow, Shadow Time, Width, and Clean Sub
– 2x / 4x / 8x filtered oversampling
– ADAA nonlinear clipping
– True Peak detection and ceiling control
– HQ Render mode for offline export
– Three comparison slots with Undo / Redo
– 65-sample real-time processing latency

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SURVIVE.1.0.0  ( 33 MB )

537 MB / 1 GB

OpenTune is an open-source vocal pitch correction tool that combines a standalone editor with a VST3 plugin workflow. Instead of basic DSP transposition, it uses RMVPE pitch extraction and a PC-NSF HiFiGAN neural vocoder through ONNX Runtime to regenerate corrected vocals while aiming to preserve the singer’s formants.

The editor is built around graphical tuning rather than one-knob automatic correction. You can draw pitch curves, edit detected notes, use anchor tools, detect key automatically, correct to common scales, and work in ARA2-capable hosts when the host integration behaves correctly.

Key Features
– Neural-vocoder pitch correction designed to preserve vocal formants during tuning and transposition
– RMVPE pitch extraction with PC-NSF HiFiGAN resynthesis through ONNX Runtime
– Graphical editing workflow with hand-drawing, note editing, anchor tools, and automatic tuning
– Automatic key detection plus scale correction for Chromatic, Major, Minor, Pentatonic, Dorian, Mixolydian, and Harmonic Minor modes
– Standalone application and VST3 plugin builds, with ARA2 extension support in compatible hosts
– GPU-accelerated inference using DirectML on Windows and CoreML on macOS
– Multilingual interface support for Chinese, English, Japanese, Russian, and Spanish

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OpenTune.1.7.3.WIN  ( 500 MB )

OpenTune.1.7.1.MAC.part1  ( 500 MB )

OpenTune.1.7.1.MAC.part2  ( 500 MB )

6.05 MB

A noise gate with LOOKAHEAD – it hears the note coming before it has to decide, which is the one thing no gate pedal on the floor can do. One knob. Set the threshold, forget it.

Unlike a traditional gate that only reacts after the signal crosses the threshold, MSD Denoiser uses lookahead processing to open the gate in advance, helping to avoid clipped transients and making the gating feel smoother and more natural.

Features
– Free
– Lookahead noise gate
– Natural transient preservation
– Fast, responsive tracking
– Low CPU usage
– Great for guitar, bass, vocals, and other audio sources

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MSD.Denoiser.0.2.0  ( 6 MB )

44.9 MB

A simple dynamic EQ that works fast. The Reflexive EQ is quick to configure, due to its automatic gain-staging and simple controls.

The plugin comprises four dynamic EQ bell curves, each of which can be used in compression or expansion mode, processing mid and/or side information.

The device is highly responsive, with adjustable attack and release times for each EQ bell, up to 10ms look-ahead, and minimum-phase filters designed to move quickly without pre-ringing or other artifacts.

Features
– Up to 4 independent dynamic EQ bell curves, each with controls for gain, frequency, Q and attack/release times
– Each EQ bell can process Mid and/or Side information
– Dynamics can be deactivated on individual bells if needed (“Dyn” button)
– Detector frequency range can be customized and auditioned
– Up to 10ms look-ahead
– Automatic detector threshold allows the device to work the same on loud or quiet material
– Optional automatic make-up gain targeting neutral LUFS impact
– External sidechain ducking capability (if using the AU version of the plugin, click “sidechain” in the display to activate; VST3 users can instead double-click “Reflex Acoustics” to deactivate external sidechain connectivity if needed)
– Spectrum analyzer with enhanced low-end time/frequency resolution
– Potentially clashing frequencies are highlighted when an external sidechain is connected
– Resizable user interface
– Factory presets included

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Reflexive_EQ_v1.0.3  ( 44 MB )

9.29 MB

IA De-Esser is a free de-essing and resonance suppression plugin — 4 filter slots for sibilance and harshness taming.

What It Does
– Seamless de-essing: simply turn on a Slot in De-Ess mode and let it tame sibilance automatically
– Auto Mode: Lock in your Low-Cut and Hi-Cut, and let the plugin intelligently choose your depth and Q for appropriate harshness taming
– Smart Mode: The plugin hunts for any part of the spectrum that needs taming, and sends your current slot there to handle it
– View live readouts of Atk/Rel/Depth/Q

Cut only the harshness you want to get rid of, and easily avoid an over-processed feel

Use Smart Mode as a ‘set-and-forget,’ or follow where it travels to help you surgically set your Low-Cuts and Hi-Cuts

Zero added DAW Latency

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IA DeEsser  ( 9 MB )

25.4 MB

Decompressor is an upward dynamics processor designed to exaggerate the natural level differences that still exist in a signal. When the detected RMS level rises above the threshold, the processor increases level according to the selected ratio, helping flat material feel more animated and responsive.

Make rigid audio breathe
Decompressor is especially useful on drum loops, drum groups and other material whose level has become too consistent. It can bring forward existing accents, strengthen contrasts between hits and add a sense of motion without replacing the original performance. The Dry/Wet control makes parallel processing straightforward, from subtle movement to deliberately exaggerated dynamics.
– Add level contrast to flat drum loops and percussion
– Emphasize existing accents in drum groups
– Create more movement in overly controlled material
– Blend processed and original signal for parallel upward expansion

Seven focused controls
– Threshold sets the level above which expansion begins, from -24 dB to 0 dB.
– Ratio controls the strength of the upward expansion, from 1 to 5.
– Attack sets how quickly the processor responds, from 1 to 200 ms.
– Release controls how quickly it relaxes, from 20 to 800 ms.
– Pre-Gain drives the signal into the detector and processing path.
– Makeup adjusts the output level after dynamics processing.
– Dry/Wet blends the processed result with the original signal.

What Decompressor does not do
Decompressor reshapes level variations that are still present in the audio. It cannot reconstruct information permanently removed by clipping, hard limiting or destructive processing. Start with conservative Ratio and Dry/Wet settings, then adjust the timing to follow the groove.

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Decompressor.1.0  ( 25 MB )