175.2/39.9 MB

Vital is the perfect solution for those looking to enhance their sound and unleash their creative potential. With a range of synthesis options, including wavetable and granular synthesis, Vital offers endless possibilities for sound design. The intuitive interface and powerful sound shaping controls make it easy for producers of all levels to quickly create professional-quality sounds.

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Vital.1.6.1  ( 175 MB )

11.7 MB

Smoke Mono 1 is a free monophonic analog modeling synthesizer developed by Grammy-winning producer Mike Dean.

Smoke Mono 1 is a full monophonic synthesizer with no trial period, no watermarks, no limits. Yours forever.

Analog Modeling Engine
Virtual analog oscillators with saw, square, triangle, and sine waveforms. Sub oscillator with octave select. Real unison detune.

Resonant Filter
Moog-style ladder filter with cutoff, resonance, and envelope amount. Keyboard tracking. Self-oscillation at high resonance.

Bass-Preserving Distortion
Custom saturation circuit that adds grit without losing low end. From warm tape to full screaming overdrive.

Glide + Legato
Smooth portamento with adjustable glide time. Legato mode for connected phrases. Mono voice priority: last note wins.

Full ADSR Envelope
Snappy attack for plucks, slow bloom for pads. Filter envelope with separate depth control. Shape every note.

Built-In Effects
Delay synced to host tempo (1/4 note default). Reverb with freeze. Chorus for width. All built in — no extra plugins needed.

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Smoke.Mono.1.0  ( 12 MB )

132 MB

A free authentically sampled take on the Yamaha PSS-130 from the 80’s, with added effects and goodies. Get ready to have some fun with this guy.

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DSS-130SE.1.0  ( 132 MB )

85.2 MB

MAME®-based VST3 emulation of the Ensoniq® SD-1 32-Voice synthesizer built with JUCE®

We are Sojus Records, one of the longest-running netlabels still active. We are musicians, not programmers, but we love old synths and emulations. We decided to build a fully featured VST3 version of the MAME-emulated Ensoniq SD-1/32, which has never been emulated before. Thanks to the recent AI coding revolution, we have successfully built it. This proof-of-concept is an important step for both musicians and coders. We are looking forward to bringing other MAME synths to life in the future!

Features:
– Windows 10+ 64 bit VST3 AVX1/AVX2, Mac Intel+ARM Universal Binary VST3, Linux VST3 Generic/AVX2
– VFX, VFX-SD, SD1 .SYX SYS-EX file import. Read the FAQ for more info!
– FULL VST automation (All keys, sliders and buttons. Now you can save presets: Saving requires holding down PRESETS button and pressing a BANK button), full MIDI CC controlling, polyphonic aftertouch
– Global settings saving
– VST3 state saving
– 4 different panel layouts with resizable GUI and VFD display
– Buffer setting
– 4 outputs: stereo main out, optional stereo aux (dry signal with no effects)
– Can load all compatible VFX/VFX-SD/SD1-24/SD1-32 disk images (.img, .hfe, .dsk, .eda) and cartridges (.eeprom, .rom, .cart, .sc32)
– – – How to load: Attach the disk image using the “Load Floppy/Cartridge” button. Press Storage, then select DISK. Press LOAD. The display will show the Disk Load page with the File Type selected. Move the data entry slider to select your file.

Known limitations
– Only 1 instance can run at a time per DAW due to engine limitations.
– Daw automation is not visible on GUI
– No floppy drive sound 😀
– Mac binaries require one of the following methods to run due to Apple’s security policies:
– – – Manual authorization: The user must go to System Settings > Privacy & Security and, after the DAW has attempted to load the plugin, click the “Open Anyway” button.
– – – or
– – – Removing quarantine (via Terminal): Run the following command on the plugin bundle:
sudo xattr -rd com.apple.quarantine /Library/Audio/Plug-Ins/VST3/EnsoniqSD1.vst3
– – – Get Sentinel if you stuck with authorization: https://github.com/alienator88/Sentinel

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EnsoniqSD1.0.9.8  ( 96 MB )

131 MB

Six Sines is a small synthesizer which explores audio rate inter-modulation of signals. Some folks would call it “an FM synth” but it’s really a bit more PM/AM, and anyway that’s kinda not the point. At the end of 2024, I was in a bit of a slump dev-wise for a variety of reasons and wanted a small project to sort of jump-start me for 2025. I had watched Newfangled Dan ship obliterate from idea to loved plugin in November, and I thought hey can I do the same in December

As I wrapped up 2024, I also wanted to take account of how well our project to factor code into libraries went and make a sort of todo-list of why it was hard to build a synth. This includes some insights into the sst- libraries and the clap-wrapper

Another indie audio dev, who asked to not be named here in case this sucks, which it doesn’t I dont think, said to a group of users in a discord in an offhand way something like “the least commercially viable thing is a 6 op full matrix pure FM synth”. So my response was 1. implement one, 2. give it away, 3 ???, 4. you know the meme.

It seemed fun, and I thought some people would download it.

It had been in my head for a while and I wanted to hear how it sounded

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six-sines-win-1.1.0  (59  MB )

six-sines-macOS-1.1.0  ( 126 MB )

six-sines-linux-1.1.0  (38 126 MB )

16 MB

B4ss Nation is inspirated by Novation Bass Station 2. Its basicly made most for bass sounds, but can make mutch more sounds then that, the synth is packed with 128 presets to make the best sounds for you,

There are 2 banks included with 128 presets in each bank in this package!

(Specifications).
Zoom: From -50% up to +50%.
Polyphony: Up to 8 voices polyphony.
Unison: 8x Unison per osc with detune.
Preset Manager: 128 presets with (Save / Load / Save Bank / Load Bank / Copy / Paste / Init Preset).

Portamento: Portamento with (Legato / Porta).
Pitch: One master tune.
Wheels: Pitch bend & Mod Wheel with destinations.
Velocity: Filter Env, Pitch Env & Amp.
Aftertouch: Aftertouch with destinations.

Envelopes: (Filter envelope / Pitch Envelope / Amplifier Envelope).
Oscillator: Two oscillators with 126 shapes plus (Octave / Fine / Wave / Env / Mixer Osc 1 > Osc 2).
One sub oscillator with 22 shapes & octave.

Lfos: 4 Lfos with 126 shapes & (destinations) also speed, depth, offset & sync.
Lfo Seq: One lfo seq with 10 shapes.

Filters: (LP2 / LP / HP / BP / 303 / VOW) filter with Both 12/24 dB, also plus an Vowel filter.
Passing true an extra filter (LP2 / SVF Lp / 303 Lp / Ladder).
Ringmod: Ring mod osc 1 & osc 2 mix.
FM: FM mod osc 1 > osc 2.

Sync: Hard sync osc 1 > osc 2 & osc 2 > sub osc.
Noise: (White / Pink) noises.
Output: Master Volume / Limited.
Effects: (Fatner / Double Pan / Overdrive / Equalizer / Chorus / Phaser / Ensemble / Delay / Reverb / Stereo).

IMPORTANT: This VST requires ‘Visual C++ Redistributable Packages for Visual Studio 2013’

(SYSTEM REQUIREMENTS)
Windows 7, 8, 10 or higher
Intel Core 3.2Ghz or equivalent AMD CPU, 4 GB RAM
1 GB free disk space
Runs in 32-64 bit VST/VST2/VST3
Supported system: Windows 32-64 bit VST

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B4ss_Nation-v6.0.1  ( 16 MB )

9.20 MB

AlphaBeta is a simple synthesizer modelled after the free, but discontinued Linplug Alpha 3 synthesizer. It is by far not as versatile as the original, and I coded it (with the help of Claude AI) to understand the signal path of such synthesizers. However, AlphaBeta has, like the original, a characteristic, liquid smooth sweeping filter sound character which together with the chorus washes out the signal really nice.

Since the Filter is the unique feature, I also added a separate AlphaBetaFX Effect VST that you can put in your FX chain.

AlphaBeta has a randomize button to let you quickly get new ideas out of the synth. Per Oscillator, you have two voices you can morph between. Other controls are pretty standard, but the most important ones are the fade and depth knobs: Fade sets the depth at which the filters cutoff frequency moves from the sustain value to either the cutoff parameters value when the dial is turned completely counter-clockwise orenvelope depth when the dial is turned completely clockwise. The depth dial is used to set the degree to which the filter’s envelope effects the signal. -100% means that the envelope has full negative effect on the filter. A middle position means that it has no effect on the filter. 100% (i.e. turning the dial completely clockwise) means that the filter is modulated by the envelope’s full range.

FM from Oscillator 2 to Oscillator 1 is active when it has values higher than 0.

Version 1.1 of the synth adds individual oscillator pitch control knobs.

Version 1.1 of the FX adds an envelope control (ADSR, Amount and Retrigger). As it is an FX plugin, it can not easily / reliably retrigger on each midi note, but the filter ADSR will retrigger after each short amount of silence.

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AlphaBeta VST  ( 23 MB )

18 MB

We are proud to release our new synthesizer Spl4sh 4.

It has 4 oscillators and alot of modulation features, two different matrixes (one for LFOs and envelopes each), two modulation and one amp envelopes with individual slopes.

Every oscillator has got 42 different waveforms. Also, it includes an effect section with distortion, bit reducer, 4-band-EQ, Chorus, and Reverb.

Splash is perfectly suitable for music styles like Future House, Tropical House, Deep House, EDM and not only.

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Spl4sh-v4.0.0  ( 17 MB )

12.44 MB

AliasSynth is a synthesizer and sample player that deliberately has no anti-alias built in to allow harsh frequencies to come through the signal chain. Frequencies above the Nyquist Limit of 22050 Hz will get reflected back into the audible range. Its intended use is for creating unusual timbres for pads or stabs that I recommend you to shape further using your favourite filters and effects to make them sound nice, to load up samples, especially in the C0 setting, and playing them at high notes to make them very short and high pitched to create the classic “data glitch sounds”, use low Nyquist cutoffs for interesting bass sounds, and general experimental sound design.

Next to a simple ADSR, a sine modulator in the 2 operator FM engine that is on by default (except you turn the knob to zero), frequency / bitrate controls a separate transpose/glide logic and wavefolding / sample and hold functions, it has the following modes:

Subtractive Saw: CPU-friendly. Only the fundamental frequency is explicitly generated and folded.

Additive Saw: A CPU-heavy sawtooth constructed from 64 individual harmonics. Each harmonic frequency is folded independently around the Nyquist Limit.

Sine Wave: A single sine oscillator. Good and classic choice for the FM engine.

Sample (Root C0): Plays a loaded mono sample with its root pitch assumed to be C0. Nyquist folding affects playback speed, not harmonic content. Higher notes drastically shorten playback.

Sample (Root C5): Plays the loaded sample at original pitch when C5 is played.

Sample (Root C10): Plays the loaded sample with root pitch at C10. Lower notes stretch playback drastically.

Samples are played back without any interpolation (or “nearest neighbor interpolation”), which is not audible when you play it back normally but it adds a certain Lo-Fi crunchyness when resampling at lower / higher registers.

AliasSynth is designed as an explicit aliasing and spectral-folding instrument, not a clean or “correct” synthesizer. Unexpected behavior at extreme settings is intentional.

Made with the help of Google Gemini and chatGPT and the code is open source, written in JUCE! You may do whatever you like with the source code, except sell it unaltered.

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AliasSynth VST  ( 12 MB )

46.6 MB

Multi-synth emulates retro synths via cycle-accurate hardware emulation. Retromulator brings legendary hardware cores back to life through authentic low-level emulation. The virtual analog synths are powered by a faithful recreation of the Motorola DSP 56300 processor, the Yamaha DX7 runs a full emulation of its original chip set, and the Akai S1000 sampler plays your SF2, SFZ, and Bliss sample banks with studio-quality interpolation. Each core runs its actual firmware or sample data — delivering the unmistakable character of hardware that defined electronic music from the early 80s through the 2000s.

Unlike traditional software emulations that recreate synthesizer behavior by approximation, Retromulator emulates the original integrated circuits at the hardware level. The virtual analog synths run on a cycle-accurate Motorola DSP 56300, the Yamaha DX7 runs a full emulation of its Hitachi HD6303R sub-CPU and Yamaha YM21280/YM21290 EGS/OPS chip set, and the Akai S1000 sampler runs on the SFZero v3.0.0 engine with 8-point sinc interpolation supporting SF2, SFZ, ZBP, and ZBB sample banks. Each core executes its authentic firmware or sample data exactly as intended.

Load the ROM firmware from your own hardware or sample banks from your library, place them in the designated folder, and Retromulator takes care of the rest. The result is not an approximation — it is the real hardware running inside your DAW.

Retromulator is built on Gearmulator, an open-source synthesizer emulation project by the dsp56300 team. We are grateful for their extraordinary work in bringing these classic instruments back to life.

The Akai S1000 defined the gold standard for studio sampling in the late 80s and early 90s, with its warm 16-bit converters and characteristic sound shaping the backbone of hip-hop, dance, and film score production. Retromulator’s S1000 core runs on the SFZero v3.0.0 MIT-licensed sample engine with 8-point sinc interpolation, extended SFZ/SF2 opcode support, and discoDSP Bliss sampler format (.zbp/.zbb). Full MIDI CC support includes mod wheel vibrato, volume, expression, pan, sustain pedal, and pitch bend.

The Access Virus series defined a generation of electronic music with its aggressive, characterful virtual analog sound engine. Released from 1997 onwards, the Virus A introduced a highly efficient DSP-based architecture capable of rich pads, cutting leads, and complex modulation — all at a time when CPU power was limited. The B and C revisions expanded polyphony, added new filter modes, and refined the overall sound.

The Virus TI (Total Integration) brought unprecedented polyphony, multi-timbrality, and DSP power when it launched in 2005. Its expanded synthesis capabilities, analog-modeled filters, and deep modulation matrix made it a go-to instrument for producers and live performers worldwide. The TI2 and Snow variants extended the platform further with additional DSP headroom and a compact form factor.

The Nord Lead 2X was Clavia’s definitive revision of the iconic Nord Lead 2, adding a dual-DSP56300 architecture for expanded polyphony and richer unison. Its analog-modeled oscillators, classic Nord filter character, and immediate hands-on playability made it one of the most sought-after performance synthesizers of its era.

The Roland JP-8000 is the synthesizer that brought the supersaw waveform to the world — a stacked, detuned oscillator algorithm that became the defining sound of late 90s trance and electronic dance music. Beyond the supersaw, the JP-8000 offered a full virtual analog architecture with powerful filters, a motion control ribbon, and an expressive modulation system.

Waldorf’s microQ distilled the architecture of the legendary Q synthesizer into a compact, affordable rackmount. Its wavetable oscillators, three filters per voice, and sophisticated modulation matrix earned it a devoted following among sound designers seeking the distinctive Waldorf digital-analog hybrid character — complex, evolving timbres that no purely analog instrument could produce.

The Waldorf Microwave XT combined PPG-style wavetable synthesis with modern analog filters to create one of the most distinctive synthesizers of the late 90s. Its evolving, complex timbres — sweeping through wavetables with lush resonant filters — became a hallmark of progressive electronic and cinematic music production.

The Yamaha DX7 is the best-selling synthesizer of all time and the instrument that brought FM synthesis to the mainstream. Released in 1983, its six-operator FM engine produced the iconic electric pianos, basses, bells, and pads that defined the sound of the 80s across pop, jazz, and film scores. Retromulator emulates the DX7 at the hardware level using VDX7 — reproducing the Hitachi HD6303R sub-CPU, Yamaha YM21280 EGS (Envelope Generator), and YM21290 OPS (Operator) chip set that made the original instrument possible.

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Retromulator.1.1  ( 46 MB )