21.7 MB

No clone, no variant! Fully custom! TheBus is my own custom compressor with well-known UI. It’s usable with any source. Not only busses! Soft character and knee with linear frequency response. Especially, great from drums, percussions, choirs or anything needs glue!

FEATURES
– ATTACK : Fast to slow. 0.1ms, 10ms, 30ms
– RELEASE : Fast to slow. 50ms, 400ms, 800ms
– THRESHOLD : Will set compression. You can simply combine it with INPUT and get smooth leveling or heavily saturated compression.
– SC FILTER : HPF filter up to 500Hz.
– OUTPUT : Clean output volume control.
– EXT SC : Will engage external side-chain.
– MIX : Will blend wet and dry signals.

(No oversampling. Embedded light-weight anti-aliasing)

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TheBus.1.0  ( 22 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 )

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 )

18.7 MB

Free alternative to Trackspacer. A 32-band sidechain compressor with zero latency. It frees up headroom in the main signal for a specific track.

Controls:
– Threshold and effect amount
– Number of bands (8–32)
– Sidechain low-cut and high-cut filters
– Compressor attack/release
– Independent processing for M/S and L/R channels
– Processing delta

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Oppressor.b1.0  ( 19 MB )

38.8 MB

Harmonics Plugin. unique algorithm that generates harmonics and subharmonics in a precise and surgical manner. uses an innovative hilbert transform based phase multiplication technique.

though it may be compared to distortion, it does not alter dynamics and achieves clean output with less intermodulation, in a way never seen in traditional distortion plugins.

utilize the subharmonic knob to make basses and kicks beefy, or increase the 2nd and 3rd harmonic to tone-shape guitars and synths, making them cut through any mix.

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Sucrose.1.0  ( 39 MB )

311 MB

Natural Vocal Tuning Plugin Powered by AI Resynthesis.

Instead of only warping the original waveform, PitchNet uses AI resynthesis to rebuild tuned vocals with smoother transitions and a more natural tone.

PitchNet detects vocal pitch and displays editable note regions, making intonation and melody changes clear without digging through raw waveforms.

ARA integration in compatible DAWs lets PitchNet follow your timeline, analyze audio faster and keep vocal tuning close to the arrangement.

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PitchNet.0.1.0  ( 312 MB )

9.5 MB

Halide — Granular Smear & Spectral Wash
A grain cloud that feeds its own spectral ghost — dissolve the actual sequence of grains, not just the source.

Halide runs a 256-voice granular cloud into a Paulstretch-technique spectral smear — in series, not parallel, so SMEAR doesn’t add a second layered effect, it dissolves the grain cloud’s own output into slowly evolving, phase-randomized spectral fog. Feed it anything: a chord blooms into an evolving pad, a vocal line sings alongside its own harmony, a drum loop dissolves into an ambient wash that keeps breathing long after the source stops. Everything — density, size, shape, pitch, feedback, motion — shapes the fog, because the fog is made of the cloud.

Core Signal Path
256-Voice Grain Cloud — density and size fully decoupled, a bipolar SHAPE control running rexpodec Gaussian expodec (swell, fog, or pluck character), and a single SEED macro that scales timing/pitch/pan jitter together as one “character” axis.
Serial Spectral Smear — the grain cloud’s own output feeds a from-scratch Paulstretch-style engine (phase-randomized FFT resynthesis, pitch-locked crossfades on every re-anchor) — stretch 1–100×, selectable FFT window from watery-small to choir-huge.
Musical Pitch Mode — flip PITCH into an interval/chord selector (14 entries: intervals, triads, sus4, 7ths, and a bright SHIMMER stack) and every grain randomly picks a chord tone, so the cloud sings a harmony around whatever you feed it — no key entry, the source is always the root.
Feedback Through the Whole Chain — repeats re-pass through the grain engine and the smear both, so FEEDBACK builds shimmer (PITCH +12) or murk (PITCH −12) with each pass, not just a repeating delay.
Freeze + Motion — freeze the buffer and let MOTION auto-scrub through it for infinite, hands-free evolving pads from a single held instant.
Built to Watch, Not Just Hear
A live buffer waveform display shows the write head, the TIME playhead, and every actual grain spawn as a blooming, fading ember — amber cooling to redscale over each grain’s lifetime. It’s not a generic meter; it’s a direct readout of the cloud actually happening in real time, including exactly what SMEAR is currently dissolving.

Highlights

Ducked, equal-power Mix — the fog displaces the dry signal rather than stacking on top of it, so both extremes (bit-perfect dry, full wash) stay pure.
Loudness-matched wet path — grain window energy and a slow servo both compensate automatically, so MIX behaves predictably at any SHAPE or SMEAR setting instead of getting quieter as the texture changes.
Pitch-locked spectral wraps — the smear re-anchors without the pitch clash that plain crossfading between differently-pitched material would cause.
BPM-syncable MOTION and FREEZE, for scrubbing and rhythmic texture work locked to the host tempo.
What It’s For
Ambient pads and evolving washes from static sources, granular vocal and lead harmonization, shimmer/murk feedback textures, freeze-and-scrub sound design, and any material that needs to dissolve into something that keeps moving after the input stops.

Halide is donation-ware — free to use, no strings attached. If it earns a place in your workflow, a tip is always appreciated: buymeacoffee.com/brittnell
Format: VST3 (Windows & macOS) | Current version: 1.0.1.

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Halide.1.0.1  ( 10 MB )

11 MB

Scintillate is a Spectral Reverb Sparkle Engine.

Sparkles are generated within the spectrum of a conventional reverb.

At different spawn and decay rates, these sparkles can sprinkle fairy dust on your instruments, turn them into a fluttering wall of sound, and even create trippy reverse effects.

Reducing the density lets only the loudest sparkles through, making for color-ful spectral gate effects.

DSP by Signalsmith | Everything else by Sweet Audio

{See video at top of page}

This is the first release by Sweet Audio, and also serves as a technical test of our in-house plugin framework before launching bigger plugins later in 2026.

Scintillate and our other plugins are written natively as CLAP plugins, and made compatible with VST3 and AU using the open-source clap-wrapper. If your DAW supports CLAP, prefer to use it to benefit from native support for parameter modulation and integration into the host’s undo/redo stack.

About Sweet Audio
It’s Sweet Audio’s declared goal to build a customer-friendly and sustainable audio plugin company:

We won’t play the sale game to manipulate you into buying our products – all of our paid plugins will have a constant and actually reasonable price. We say no to Black Friday.
We also don’t do marketing spam – if you sign up to our mailing list, you get exactly one e-mail for every plugin we launch in the future. Visit sweet-audio.net to subscribe.
Sweet Audio is founded by Marius Metzger, the developer behind CrispyTuner. At the time, CrispyTuner was a one-off project that I ultimately sold to Plugin Alliance, who now distribute it as bx_crispytuner.

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Scintillate.1.0.0  ( 11 MB )

73 MB

Cross-track groove-transfer plugin. GrooveTransfer extracts the rhythmic groove of one track — the transient envelope that makes it feel the way it does — and stamps it onto another by riding that track’s volume in time with it. The kick pumps the bass, the drums make the pad breathe, the vocal ducks its own delay. Instances pair by name over shared memory: no MIDI, no sidechain routing, no cables in your DAW.

Sidechain compression borrows another track’s energy — but it needs a bus, and it only ducks. GrooveTransfer moves the whole rhythmic envelope: put a Sender on the track whose feel you want, a Receiver on the track you want to move, pair them by name, and the receiver rides its own dynamics to the sender’s groove.

🎯 Envelope follower
A fast/slow detector pair isolates the transient groove of the source — the hits, not the hum — tuned by Sensitivity, Attack and Release.

🔗 Shared-memory pairing
Instances discover each other automatically and pair by name — across tracks, busses, even between plugin formats. The link survives project reloads.

🎚️ Ride or duck
Positive Mix makes the target move with the groove; negative Mix ducks it against the groove — classic “make room”, no compressor needed.

Under the hood it’s one honest move: an automatic volume ride. The receiver keeps 100% of its own sound — GrooveTransfer simply moves its level up and down (up to ±24 dB, as smoothly or as snappily as you set it), like a fader ridden in perfect time with the source’s hits. Not a compressor, not an LFO — the feel of one track, played by another.

The Sender’s envelope follower traces the drums’ transients (SOURCE below). That groove envelope is broadcast over shared memory, and the Receiver uses it to ride the volume of its own audio — the sustained pad (TARGET) starts pumping in time, smoothed by your Attack and Release. The pad still sounds exactly like your pad; it just moves like the drums.

🥁 Groove Envelope Transfer
A fast/slow follower pair extracts the transient envelope of the source and applies it to the target’s dynamics — the feel moves, the sound stays.

🔗 No MIDI, No Sidechain
Instances pair by name over lock-free shared memory — across tracks, busses and plugin formats. Nothing to route, nothing to configure in the DAW.

🎚️ Ride or Duck (±24 dB)
Positive Mix rides the target with the groove; negative Mix ducks it against the groove for instant “make room” — depth fully automatable.

👥 Sender · Receiver · Both
Up to 16 instances share the registry. Chain “Both” instances so a whole percussion section breathes with one common groove.

📈 Live Scope & Hints
A 1.5-second envelope scope shows exactly what you broadcast or receive, hover hints explain every control, and the peer selector warns you if the selected peer is receive-only.

🖱️ Resizable Interface
Drag the corner grip from 60% to 300% — the window keeps its aspect ratio and the size is saved with your project.

🦵 Kick → Bass
Sender on the kick, Receiver on the bass, short attack — the bass pumps in time with the kick, no sidechain compressor, no bus.

🌫️ Drums → Pad
A longer release turns a static pad into a breathing one that follows the drum groove — glue without a compressor in sight.

🎤 Vocal → Delay
Sender on the vocal, Receiver with negative Mix on the delay return — the echoes duck while the singer sings and bloom in the gaps.

🥁 One Groove, Whole Kit
Chain instances in “Both” mode across percussion layers so shakers, hats and toms all lock to the same pocket.

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GrooveTransfer.1.0.0  ( 73 MB )

11.5 MB

GrainBrain — Stereo 4-Band Multiband Granular Processor
Split it. Freeze it. Scatter it. Bleed it into the next band.
Splits your signal into independent frequency bands, then shreds each one into grains — its own LFO, spectrum view, and gate per band. The deepest knob-forest in the XNULLX family, built for players who want their hands on everything at once.

Built for texture
INDEPENDENT BAND STRIP
Split the signal across multiple bands, each with its own granular engine — sculpt highs into shimmer while keeping the low end intact.

PER-BAND LFO MODULATION
Every band carries its own modulation source, so grain density, size, and position can drift independently across the spectrum.

LIVE SPECTRUM VIEW
Watch the band split and grain activity in real time instead of guessing at crossover points.

GATING PER BAND
Keep grains from spawning on silence — each band’s gate reacts to its own signal, not the full mix.

Core Signal Path
4-Band Split — draggable bandpass filters right on the spectrum analyzer; grab a band and move it, narrow it, or disable it entirely.
8-Voice Granular Engine (per band) — grain size, scatter, pitch + pitch spread, drive/saturation, and wet/dry mix, independently on every band. Reverse and Freeze modes included.
Cross-Band Bleed — each band’s output can feed into the next (Low LoMid HiMid High, wrapping back to Low), for resonant, self-reinforcing textures that a simple per-band effect can’t produce.
Stutter Gate (per band) — a BPM-synced trapezoid envelope with attack, release, and phase offset, for rhythmic amplitude patterns that lock to the host tempo.
7-Target LFO Matrix (per band) — modulate Center, Width, Mix, Pitch, Scatter, Size, and Gate Phase simultaneously, each with its own depth and phase.
Built to Watch, Not Just Hear
The real-time spectrum analyzer isn’t decoration — band regions animate live under LFO modulation, so you can see a Center sweep or a Width pulse happening in sync with the audio. Drag directly on the analyzer to reposition a band by ear and eye.

Highlights
Ducked, equal-power Master Mix — dry and wet displace each other instead of just stacking, so blending in granular texture never gets muddy.
Global In and Out trim sit alongside Mix in the bottom bar — set levels in one place without hunting through four bands of per-band Gain knobs.
Collapsible Spectrum / Gate / LFO sections, remembered per preset, so the window stays exactly as compact or as deep as the patch needs.
Full MIDI Learn on every parameter.
What It’s For
Multiband texture design, granular pads and drones, rhythmic stutter/gate effects synced to tempo, spectral freeze composition, glitch and sound-design work, and subtle “make it feel alive” granular blending underneath a mix — GrainBrain covers the gap between a delicate texture enhancer and a full sound-design instrument.

GrainBrain is donation-ware — free to use, no strings attached. If it earns a place in your workflow, a tip is always appreciated: buymeacoffee.com/brittnell
Format: VST3 (Windows & macOS) | Current version: 1.0.1.

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GrainBrain.1.0.1  ( 11 MB )