30 MB

Vintage Tube driven tape machine!

FEATURES

– INPUT : Will set input gain to set best input level for your source (Gain compensated)

– DRIVE : Will set internal saturation by pushing circuitry

– OUTPUT : Will set output gain (Fully clean)

– IPS : Will set tape speed 7.5 or 15

– W/F : Wow & Flutter will simulate tape machine behavior

– NOISE : Will add noise to source between -120dB and -40dB

– BIAS : Will set bias of tape machine

– I/O : Bypass

Resizable interface. Simple “Bottom Right Corner Handle” to resize. 50% to 200%.

*Resizing Tip: When you duplicate plug-in, it will remember current state of GUI size. But if you load new instance, it will be opened at default size. To get rid of this issue, simply follow these steps;

1. Open plug-in for the first time

2. Resize GUI according to your screen resolution or you liking before setting any knobs

3. Save this state as default preset with your DAW

Now, you will be able to load new instances with same size.

(If you want to go default size, simply double click to resize handle.)

Version 1.0 – 26.10.2026 – Initial Release

Available Formats

VST3 / AU / AAX Native – Audiosuite | Mac 10.11 or Higher | Intel / Apple Silicon

VST3 / AAX Native – Audiosuite | Windows 10 – 11

Mac Versions require a graphic card that supports “Metal”

Windows Versions require a graphic card that supports “OpenGL”

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TheMachine.1.0  ( 30 MB )

31 MB

Fully Flexible Free Delay Plugin
Create traditional forward delays, fully reverse or reverse/forward blends. Coalesce also has an extensive and intuitive FX Unit framework and a Diffusion Engine and Parametric Ducker to allow you to create truly unique sounding delays.

Create and blend Forward and Reverse Delays
Coalesce is the only delay plugin which allows you to blend forward and reverse delays. Use the direction parameter to create forward, fully reverse or somewhere between the two. You can also use the Offset feature to customize the Reverse Delay time to help align the timing of your delays.

Flexible FX Chain
Coalesce has a flexible and extensive drag and drop FX Chain framework which can be applied to the Feedback and main Delay channels. Current FX Units include up to 2 Filters, Distortion, Ring Modulation, Pitch Shift (delay-based), Limiter and a Gain Module.

Diffusion and Ducker
The Diffusion Engine allows you to apply up to 50ms of reverb tails to your delays. There is also a Parametric Ducker which allows you to duck your delays around the dry input.

COMPATIBILITY
OS: Windows 11
DAW: 64-bit VST3 and AAX support
OS: macOS 15+ Apple Silicon and Intel
DAW: 64-bit VST3, AU and AAX support

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Coalesce.1.0.1  ( 30 MB )

15 MB

Each band listens for itself. Low, mid and high have their own detectors and timing. ADAPT controls how much the compressor reacts when one band starts to stand out. Use it on a single track, a drum bus or the whole mix. Turn on auto gain and compare with PROCESS to hear the change without a big jump in loudness.

Find the right feel.
Four modes set the timing and strength of the compression. Start with the one that suits the track.

Transparent
Gentle control for a mix that needs a little help staying together.

Punchy
A quicker response for drums and parts that need to keep their attack.

Loud
Stronger compression for a denser sound before your final limiter.

Aggressive
Heavy compression with a wide knee when you want to hold things down.

A good place to start.
Choose a mode.
Try Transparent for gentle control, or Punchy for drums.
Set the response.
Choose Instrument or Mix Bus, then adjust ADAPT by ear.
Check the change.
Leave auto gain on and switch PROCESS off and on to compare.
Control the dynamics.
Shape the tone.
Keep it subtle, add some weight, or push a little harder. The main controls stay within reach.

Tame the peaks.
Bring up the quiet detail.
Each band combines downward and upward compression. The meters show how much level is taken away and how much is added.

A little body.
A softer edge.
COLOR adds console-inspired body and harmonics. WARMTH gives you a darker, softer balance, with less bass boost on material that already has plenty of low end.

Compare at a similar loudness.
Auto gain follows the change in loudness. PROCESS switches between processed and dry audio with matched latency. For a manual comparison, turn auto gain off and use OUTPUT to trim the processed signal.

Start with a preset. Make it yours.
Twelve factory presets cover mix bus, drums, bass, vocals, keys and more. Save your own settings as a .gc3bpreset file and bring them into another session.

Mix Bus · Gentle Glue
Drums · Punch and Body
Vocal · Smooth Level

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GLUECOMP-3B.1.0.0b  ( 17 MB )

23.5 MB

Plate reverb plugin. Room Service is a free plate reverb built from the ground up around the behavior of suspended steel: fast, dense diffusion, highs that arrive ahead of the lows, and a tail that changes character as it fades. Add Tube and Solid State character stages, thirty factory presets, and enough range to go from a little vocal polish to gloriously excessive.

A plate has a particular way of bringing sound to life. The initial buildup is fast and dense, while higher frequencies travel through the steel faster than lower ones. That dispersion is part of what gives a plate its unmistakable texture.

Room Service brings that behavior into its diffuser, pairing near-instant default predelay with frequency-dependent spread. Highs bloom ahead of the low end, giving the reverb movement and dimension from the start.

The Spread knob controls both that dispersion and stereo width. Pull it back for a focused image approaching mono. Open it up and the channels diverge into a broad, enveloping tail.

A little space around the singer. Or enough space for the singer’s entourage:
Predelay – 0-100ms, with a near-instant default
Spread – Highs-first dispersion and stereo width in one control
Decay – 0.5 to 8 seconds, from tight reflections to lingering luxury

At normal levels, both Character settings keep their contributions subtle. Push the Input knob and their personalities become considerably less discreet.

Tube uses an asymmetric drive curve for second-harmonic warmth. Solid State uses a symmetric curve, staying restrained until you drive it harder. Choose the character, then decide how much attitude belongs on the tray.

The reverb tail has a personality of its own. Feedback damping responds to the tank’s energy as it decays, allowing the brighter modes to fade first and the remaining sound to settle toward the low-mids. The texture evolves throughout the decay.

Use Tone to shape how much brightness stays in the tail:
Character – Tube for asymmetric warmth, Solid State for symmetric drive
Input – −12 to +12 dB, feeding the Character stage directly
Tone – Controls how brightly the tail lingers

Thirty factory presets cover the jobs you actually reach for a plate to do: vocal depth, drum space, short slaps, tight ambience, warm narrow tails, and bright, expansive decays.

Send presets put Mix near 100% for an aux return. Insert presets blend the reverb beneath your source. Start with a tuned setting, then make it yours.

The 80Hz Cut keeps excess bass out of the reverb with four stepped low-shelf settings: 0, −4, −10, or −16 dB. Choose how much weight stays in the tail, and switch the VU meters between input and output to keep an eye on levels.

Your room is ready:
30 factory presets – Send, insert, drum, vocal, chamber and more
80Hz Cut – Stepped low shelf, 0 / −4 / −10 / −16 dB
VU source – Input or output metering

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Room.Service.1.0.0  ( 24 MB )

61.1 MB

Multilayer digital destruction. Bit Layer eight independent crush layers with frequency targeting and tonal/transient modes, letting you treat sustained sounds and sharp attacks differently. Crush the body of a sound, shred its transients, or process both. Each layer has its own bit depth, sample rate, jitter, effect order, mid/side routing, and gain.

– Eight layers — target different frequency ranges with independent crush, reduction, and jitter settings.
– Bit Crush, Sample Reduction & Jitter — lower the bit depth, drop the sample rate, and destabilize the timing of each layer.
– Tonal / Transient modes — degrade sustained content or percussive attacks.
– Mid / Side routing — add grit to the sides, the center, or the whole stereo image.
– Mixing / Low Latency engines — isolate bands precisely when mixing, or run zero latency when tracking and live.
– 88 factory presets — starting points for vocals, drums, bass, synths, and more.

For drums, basses, synths, vocals, and buses that need grit, texture, or movement.

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Bit.Layer.0.5.9  ( 61 MB )

20.6 MB

Simple ring modulation sidechain. RMSC is a free VST3 effect that uses ring modulation for sidechain processing. It can help reduce clashes between kick and bass, offering an alternative to conventional sidechain compression.

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RMSC.0.4.0.0  ( 21 MB )

153 MB

Cassette channel strip inspired by Tascam Porta Two. The Tascam Porta Two was not a precision instrument. Released in 1987, it was a four-track cassette recorder built for bedrooms, not studios. Its preamp clipped early and unapologetically. Its transport wobbled. Its tape hissed. People made records on machines like it anyway, and the flaws became the sound.

PortaTwin models the full signal chain: the way the preamp colors and saturates at different input levels, the pitch drift of an aging transport, the bandwidth loss and hiss of worn tape. It works as a subtle analog glue or as a deliberate lo-fi tool. Everything in between is fair game.

PREAMP
CLEAN leaves the channel fader at its reference mark. HOT pushes the channel fader 9.4 dB up and pulls the master down by as much, so a quiet signal keeps its level and a loud one distorts more. Projects saved with 2.0 keep the preamp they were made with.

TAPE
DRIVE is how hot you print, in dB: nominal level at half, where a cassette sits at 0 VU and the tape gives just under 1 % distortion, 12 dB over at full. The level stays put; only the squeeze grows. BIAS is the deck’s internal trimmer. Centre is the clean spot. Left of centre the tape goes grainy and bright, with even harmonics and modulation noise, and the first steps count almost as much as on the other side. Right of centre it goes darker with every step. Wow & flutter with random drift. 4-component hiss model, filtered by the head’s bandwidth like real cassette hiss. AGE macro from pristine to destroyed. Type I / Type II. 3¾ / 1⅞ ips: at 1⅞ ips on Type II with AGE at zero, 10 kHz sits at −0.6 dB, where the machine’s service manual asks for no worse than −3. Noise reduction, tuned by ear rather than modeled from the circuit.

OUTPUT
Ghost effect (azimuth misalignment + print-through). VU meter with spring-damper needle physics. Auto gain compensation, calibrated on pink noise at −18 dBFS: on quiet sources, raise INPUT first. 15 automatable parameters plus POWER, 15 factory presets.

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PortaTwin.2.1.0  ( 153 MB )

11 MB

Clipping restoration. UnClip repairs short peaks damaged by hard digital clipping. It detects flat-topped overloads, reconstructs a plausible waveform through the damaged area, and changes only the samples it identifies as clipped. There is no threshold or repair amount to set — insert it on the damaged track, create output headroom if needed, and let it work.

01. Find clipping below 0 dBFS
UnClip looks for the shape of hard clipping instead of assuming the damage sits at 0 dBFS, so it can still recognize peaks that were clipped and turned down later.

02. Rebuild the curve
Accepted flat-topped peaks are reconstructed from the clean samples around them. Only the samples identified as clipped are written back to the output.

03. Make room after repair
Output trims the reconstructed signal by up to 24 dB when you need headroom for repaired peaks before EQ, compression, saturation, or export.

How to repair hard-clipped peaks after recording

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UnClip.1.0.0  ( 11 MB )

552 / 950 / 681 MB

Free collection of 13 analog-style plugins. Five compressors. Five EQs. Two tape machines. One channel strip. Level a vocal on the RF-2A, push drums into the RF-76, run a whole track through the RF-E channel strip, then print the mix to tape on the RF-A80. Every unit comes with presets, A/B, Delta and a Mix knob for parallel processing. All run at 2x, 4x or 8x oversampling.

Thirteen units
RF-2A, Optical compressor
RF-1B, Tube optical compressor
RF-16VU, VCA compressor / limiter
RF-76, FET limiting amplifier
RF-67, Stereo vari-mu limiter
RF-73, Preamp & EQ
RF-55A, Three-band EQ
RF-56, Ten-band graphic EQ
RF-EQ1-A, Program equalizer
RF-MQ-5, Mid-range equalizer
RF-A80, Multichannel tape
RF-AT12, Mastering tape recorder
RF-E, Console channel strip

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Relic.0.4.1.WIN  ( 553 MB )

Relic.0.4.1.MAC  ( 951 MB )

Relic.0.4.1.LINUX  ( 682 MB )

117 MB

StereoiXer – More Depth, More Deep, More Wide…

StereoiXer is a very special Multiband Spatial Image Processor. Its architecture comes from the XM Series and shares the same level of precision.

With its sophisticated and versatile toolset, it covers everything you need to manipulate a 3D soundstage.

When you hover over the interactive buttons and knobs in the interface, a short explanation of what each control does will appear.

There are two main controls: the Depth and Image knobs. The other parameters can be adjusted depending on the emotional character and sonic impression you are looking for.

The demo version is unlimited. You decide the price, and you can make a donation or subscribe whenever you like.

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StereoiXer  ( 152 MB )