KVR Developer Challenge 2016
Voting is CLOSED! The winners have been announced here (FYI they are listed below in the order they finished - the winner at the top)! Thank you and congratulations to everyone!
Welcome to the KVR Developer Challenge 2016, the sixth free-for-all audio plug-in / audio application / soundware design event!
The "KVR Developer Challenge" is for anyone who develops Audio Plug-ins or Applications and Soundware. The challenge is to create and release a brand new free audio plug-in, application or sound library / pack / set that will benefit the community at large. Creativity is key, it can be as simple or as complex as you want - KVR members will vote on the entries and pick the eventual winner using whatever criteria they choose to.
KVR Developer Challenge 2016 Entries
Youlean Loudness Meter 2 is a successor of original loudness meter plugin that was KVR Developer Challenge 2016 winner.
It is available as standalone application, VST2, VST3, AU, and AAX plugin formats. Supports Windows and macOS.
There are 2 versions:
- Film, TV and Gaming presets.
- LU, INT, TP, LRA, PLR, DR readouts.
- Resizing, scaling GUI.
- Mini view.
- True peak and loudness histogram graph.
- Loudness distribution graph.
- Automatic loudness overdub.
- Mono, Stereo, and 5.1 channel.
- Low CPU consumption.
- Everything the free version has plus:
- Streaming presets.
- Dynamics graph.
- PDF, PNG or SVG export.
- Saving custom presets.
- Text scaling.
- Dark and light theme for plugin and export.
A/B save states.
Drag & drop analysis.
- Lifetime free updates.
- 30 days money back guarantee.
Lagrange is a unique stereo delay system producing other worldly echoes using granular techniques, where each grain is from a different point in the delay buffer:
- Use basic settings to create immersive stereo imagery with clean early reflections to give instruments a clear place in the mix.
- Use the feedback control to transform your sounds into droning evolving soundscapes.
- Shorten the delay time to create unusual metallic chorus effects.
Lagrange is an effect unlike any other.
Subscribe to our mailing list for future updates (we promise not to be spammy).
The plugin is supplied as a Mac and Windows installer to add a 64-bit VST3 file (and an AU on Mac).
If you use and enjoy Lagrange please at least try a free demo of my commercial products. Thanks.
*** Solution for issue where Lagrange validates in Logic and appears in the Plugin Manager but does not appear on the list of available effects for a track/channel. ***.
In Logic (and I imagine in some other DAWs), Lagrange will not appear on the list of available effect plugins on a mono track. You must change a mono track to stereo for Lagrange to show up in the drop-down menu of available effects for a channel. Thanks @cnriley.
+ Mac notarized installer with support for Big Sur and Apple Silicon (native).
+ Windows signed installers.
+ UI update.
+ minor performance improvements.
+ Ability to boost as well as cut EQ band.
+ No longer supporting VST2 at Steinberg's request.
+ Mac VST
+ Mac AU
+ DMG installer for mac
+ Double clicking controls to returns to value from most recently selected preset
+ EQ band freq fix.
+ Increase Buffer length to allow for more BPM delays
+ Removed bug in bypass limiter not responding correctly to Right channel and over sensitive to left channel.
+ Removed issue in Flangoid and Phasoid modes which manifested as Feedback limiter overload caused by out of bounds read.
+ Xml based preset system
+ Preset System should adapt old presets
+ Add factory presets
+ Reload of old projects should work with new load/ preset system
+ Mac portability font and file issues
+ Added help for Phasoid and Flangoid modes
+ Double click on title (or any part of background) to reset size of plugin window
+ Click on bear to go to ursadsp.com.
- Fixed issue with different behaviour during rendering and playback due to wonky measurement of time and playback position. This may affect sound produced by Phasoid and Flangoid slightly.
- Fixed issue with jump in volume when playback is paused in Phasoid and Flangoid modes.
- Fixed an issue with automated controls not updating when controlled by host in certain hosts e.g. FL Studio.
- Fixed DLL linking issue so the result no longer requires VC++ redistributable.
- Included 32-bit dll to be part of main build process.
- Baseline for KVR Developer Contest
- Added context sensitive help system.
Spaceship Delay is a delay audio effect featuring classic modern and vintage sounding delays, with the following features:
- Three delay modes: single, ping pong and dual / stereo.
- Standard delay effects controls such as the delay time in ms and in time subdivisions, the feedback (up to 110 % !), a tap tempo button etc.
- A modulation section acting on the delay times and the filter cutoff frequencies.
- An attack control allowing the user to feed the delay line only when the input volume is higher than a given threshold.
- A spring reverb modeled from a famous tape machine (not that one, another one).
- An advanced filtering section including standard lowpass and highpass filters, shelf filters, and the simulation of two famous synthesizer filters (not these ones either, other ones).
- A specific "modeling" section giving access to different kind of delay line and saturation colourations, featuring a bitcrusher and a tube preamp simulation.
- A "Freeze" switch which can be used for some creative effect or to transform the effect into a looper with high delay values.
- Post effects such as extra filters, a tremolo and a vintage phaser
It can be used as a typical delay for mixing vocals, adding some depth to drums, guitars, synth sounds, but also as a more creative effect, thanks to the attack control, even as a looper thanks to the freeze switch and the very long maximum delay sizes.
Spaceship Delay includes finally a few presets and an embedded tutorial feature, available from the about tab (by clicking on the logo in the user interface) where you can learn how to use properly the plug-in, with live tutorials, and how to do some classic delay tricks like doubling vocals, slapback rockabilly guitars, ambient sounds etc.
Spaceship Delay is free and available on VST, AU and AAX formats (32/64-bits, Windows & Mac OS X).
Roth-AIR is a mixing tool for easily adding airy, crispy presence to your audio.
This is achieved by a combination of multiband compression and gentle saturation of the highs. It enables for a stronger, more consistent presence of high frequency material and works particularly well with vocals, synths and strings.
The process is made easy by a simple user interface, automatic makeup gain and a combined function "AIR" knob.
Roth-AIR is available for free in 32-bit and 64-bit as VST and AU (OS X only) plugins for Windows and Mac.
Sound examples: youtu.be/o_kBijBvHXQ
This plugin was developed in C++ with JUCE - Big thanks goes out to ROLI for this great framework, as well as Vincent Falco (DSPFilters) and Martin Zuther (Squeezer) for their open source contributions to the community, which this project has greatly benefited from.
"Roth-AIR" source: github.com/danielrothmann/Roth-AIR
SoftAmp PSA is a virtual-analog guitar pre-amp supplemented with noise gate and compressor, all modeled after famous guitar gear that needs no introduction.
At its core there are 5 distortion stages. First three are based on op-amps with zener diodes in the feedback chain, while the last two are just op-amps being overdriven into saturation. They are followed by tonestack, speaker simulator and an output level control. Each overdrive stage has a distinct frequency shaping quality according to their names. See the EQ plot in the bottom right corner for details.
All stages are modeled as nonlinear filters with their outputs depending on both the frequency and the amplitude of the input signal. It gives the most accurate digital representation, compared to cascaded filter/static waveshaper approach.
In addition to the basic controls, there are two more knobs that control the speaker simulator parameters - Shape and Rolloff. With both knobs at 0, the speaker simulator is completely bypassed (for example, to be used with external impulse loader).
Giving even finer control over the gain structure, there are two more buttons - Asymmetric and Soft-Clip. The former applies to the zener diode stages and replaces the default 4.7v/4.7v zener pair with intentionally unbalanced 3.3v/4.7v pair to saturate the signal with even harmonics. The more the first three stages are overdriven, the more pronounced is the effect. See the clipping LED indicators to have a feel of which stage gets the most saturation from the signal. The Soft-Clip function applies to the two overdriven op-amps and changes their open-loop gain from 1 million to just 200. This effectively makes the transition from linear to saturated region much more softer, making the distortion less harsh and also helping the fading notes sound smoother.
The PSI Denoiser noise gate has a handy "Learn" function. Don't play anything on your guitar and hit the Learn button. As soon as the LED goes off, the gate threshold would be automatically set to your noise level. The noise gate is applied directly to the input signal.
The Squeezo Range compressor is applied to the signal right before entering the PSA pre-amp. It's a very nonlinear, but musical sounding device. It acts as both upward and downward compressor depending on the gain and bias setting. In the original device those controls were not available for user adjustment.
For further details please see the included manual.
Lord of the Springs is a VSTi for Windows (64/32) featuring 88 voices in form of active spring systems, which a key hit stimulates as well as modwheel scrubbing.
As one might imagine, springs will generally create rather metallic sounds, which makes it ideal for complex glockenspiel sounds, xylophones, marimbas and so on, but the freedom granted by the features allows for a much greater variety of sounds from soft, dreamy pads to harsh percussion and other percussive sounds.
Beware, though, because it truly is procedural sound creation, potentially creating spikes when you line up the spring frequencies. I advice the use of a limiter to avoid possible heart-attacks or damage to equipment.
It also features a unique pitchbend implementation that allows only held down keys to be pitched, while sustained keys (via sustain pedal) won't be affected by it. Once a key is released, a pitch relax value controls how quickly it will return to the original pitch of the key. Once the bend key is struck again without any pitch bending, it will be tuned back to normal instantly.
- set it high to create whole new performance styles for quick runs.
- set it medium for almost chorus like effects when pitching toward a clean key.
- set it low to keep the pitch bend after releasing the key.
The probably most outlandish feature is the BODY or ONE SPRING TO RULE THEM ALL, which is kind of why I ended up calling it Lord of the Springs. This one spring sits underneath all springs and stimulates all of them by what ever sound they produce. It creates an almost plate reverb like effect, which can be modified in a variety of ways, including its own tuning, decay, diffusion and- what I call- "sharpness". On top of that it has its own phaser effect with a tremolo that can go stereo and can have its rate synced not just to BPM but to actual song position for a perfect lineup with a beat, if so desired. Subtle use of the phaser can create compelling room impressions as well, which is the original reason for why I implemented it to begin with. The BODY also features a blendable SOLO mode, again increasing the amount of sound creation possibilities somewhat substantially, though, mostly in the realm of special effects.
The entire GUI design is completely procedural without the use of any images, which allows the small file size, but also allows me to go crazy with weird ideas on the fly. If only I had more time to reduce the chaos, but...
I sincerely hope you will enjoy using it, while I had to rush to get it done in time for the challenge. Once voting is over and my hopes and dreams won't be smashed to pieces (haha), I will happily resume developing further versions. Come to think of it, even with shattered dreams I will continue, because it's tremendous fun for me.
Best of luck to everyone,
This virtual instrument is free of charge. KVR is permitted to do with it as they please, of course. All other restrictions of commercial and copyrighted software apply.
Copyright 2016 by Timur "Taron" Baysal (www.taron.de)
Noisetar is a synthesizer dedicated to the generation of many different noise based sounds.
The generation is purely mathematical, no samples or wavetables are used, thus allowing for an easy continuous morphing from one sound to the other. Twelve parameters control the generator, moreover its output can be further shaped and enriched inside Noisetar with its two filters, a chorusing reverb and a stereo enhancer. As modulators Noisetar offers an ADSR envelope and keytracking, with seven destinations.
Using the included bandpass filter, which is tuned to the incoming MIDI notes, is also possible to play Noisetar melodically.
Noisetar is designed with DAW parameter automation in mind to tailor complex custom modulations tied to each project rather then dealing with complicated patches.
Noisetar has its own sound space, ranging from various digital noises to crackle, rattles and crepitations similar to wood fire or rain, scratchy percussions and foot stomps, with many others from the lowest booming and gurgling drones, to thin misty hisses. The quality and types of Noisetar sounds obviously doesn't cover all possible noise sounds, but most certainly will increase your noise arsenal without taking up more than 2MB on your drive.
Any musical genre can make use of a versatile noise synth. Enjoy exploring its unique sound space.
- Unique integrated sound engine, with comb filter, LFO, AM, FM etc...
- Polyphony ten voices.
- Keytracking for various parameters.
- Melodic bandpass filter with adjustable bandwidth.
- ADSR envelope with 4 targets.
- 12dB/octave, low pass and high pass.
- Chorusing Reverb.
- Stereo Enhancer.
- All parameters can be automated inside a DAW.
- Tooltips on screen.
- Resizable GUI.
- Custom colours and texture.
SnareBuzz is an audio effect plugin that emulates the wires of a snare buzzing when there's another instrument playing near.
Why do you want to emulate this effect if every engineer in the world has tried to get rid of it? Short: because it's cool! Long: because it doesn't exist in the DAW environment, it's something that we are all familiar with, and if you're really used to play live with a band it's weird not hearing it when recording instruments separately.
Do you imagine a Led Zeppelin recording with Bonzo's snare not buzzing?
"Music is people playing live in the same room with eye contact and feeling each other".
Attack and release controls that set how the snare reacts to the incoming signal, HP and LP filters to shape the sound of it, room ambience for a more natural feel, overall gain, panning of just the effect and dry/wet controls.
Insert it on the bass track, adjust the mix knob just a tiny bit and hear how these little wires bring life to your mix. You'll miss it when it's bypassed.
Download for free here.
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The 'Player' version is based on AutoTonic Modal MIDI Transposer's patented modal transposing technology, but limited by a Fixed Preset Bank. This version also uses emojis instead of scale names and has a TicTacToe game built in, which make it even more unique to use. This version is not a demo and will not expire or such...
- Unlimited playing experience.
- No time restrictions, authorization-free.
- Dozens of scale/tonic combinations.
AutoTonic Player Manual: AutoTonic-Player_Manual.pdf
Mac Setup Instructions: AutoTonic-Setup-Mac.pdf
PC Setup Instructions: AutoTonic-Setup-Win.pdf:
- MIDI I/O must be set up on every launch.
- No Scale Browser, No Menu functions.
- No customizations (All Fixed) etc.
Some words by the developer: AutoTonic Player by Clemens Slama
Find AutoTonic's fully functional Full Version here: https://www.autotonic.net/
The qyooo is a polyphonic software synthesizer plug-in for Microsoft Windows (VST) and Apple macOS (VST/AU). It is written in native C++ code for high performance and low CPU consumption. Main features are:
- Three zero-delay feedback filters with different modes and arrangements.
- Complex Scene Morphing section for filter modulation.
- Three band-limited oscillators including Ring modulation.
- Additional white noise generator.
- Four LFOs and envelopes.
- Up to 64 voices polyphony including portamento.
- Chorus effect.
- 25 additional presets by Krezie Sounds.
- MIDI Learn - all parameters can be controlled by MIDI CC.
- Double precision audio processing.
- Plug-in supports Windows and macOS (32-bit and 64-bit).
UPDATE to 1.01: some bugs solved and guitar amp switch issue.
Devicer is a simulator of 16 different devices. This multi-fx plugin highlights the positive and negative aspects of the various devices and you can customize the character of each of it through two basic parameters.
This plugin can be used on the master channel, on individual tracks to give a vintage touch to your sound or use it creatively.
- CD deck.
- Little radio.
- Tape cassette.
- Guitar amp.
- AM radio.
- Kitchen TV.
- Leslie rotator.
- Cheap mp3.
- HI-FI stereo.
- 80's toy.
- VHS VCR.
- Tube amplifier.
- Sourround speakers.
- Club PA.
Siren is a free synth for making dub effects and all sorts of psychedelic noises.
- Three waveforms (sin, saw, square).
- Seven modes (tone up, tone down, ...)..
- Tape delay.
- Feedback up to 110%.
- Precise rate control for long sweep effects.
We really enjoyed making this synth, and hope you'll enjoy playing it.
The objective of Sound Recovery is to repair hard to understand and low quality soundtracks to a decent level. The software helps in cases when the mid-high frequency is completely missing. This can be audio recorded through a wall, or a conversation from the microphone's dead space. In these cases simply using EQ can't help. The software fixes the mid frequency by creating harmonics from the low frequency sign using distortion overdrive. The created harmonics help a lot to make the sounds more understandable. This function is most useful to forensic expert and audio restaurators.
The other function of the software is Multiband Denoiser, that erases the unwanted noise from (low-mid) and (mid-high) frequencies. This function has a more broad use. It for situations when using Equalizer negatively affects the noisy audio overall.
- Input Volume: Simple volume control, the maximum value uses the original value of the amplitude.
- Split Freq: Selects the frequency range where the user would like to have the biggest difference during the change of the audio.
- Recovery: Connected to Split Freq, this function works in the frequency range set in Split Freq. Recovery sends the sign into overdrive. Use only when significant repair is necessary, or when only higher frequency ranges need to be strengthened. (See: Low quality MP3, with no high frequency range.).
- Enhancer: This function is similar to Recovery's mechanism, but the user can set a narrow frequency range, to get more harmonics from. The other difference is that overdrive is made by a more specific algorithm.
- Low pass: This simple low pass filter can be used when the high frequency noise is deemed too much.
- Denoiser Low/High: Filters the noise from the low/high frequency range set by Split Freq.
Denoiser Low needs specific settings to function properly. For example, when the user would like to handle the low frequency range while Recovery is at maximum and Split Freq modifies too high of a range.
If the software is used only for noise filtering don't use Recovery and Enhancer. The blue led knobs can be used to turn these functions on and off.
Using the Standalone version the user can load audio using the Load WAV function. For playing, looping, and audio exporting 3 function knobs can be used. The part of the audio to loop is shown by the bottom graphic display, marked by two vertical markerlines.
After the editing is done, the preset can be saved used the File knob.
The VST version works only with 32-bit DAW software, but with Bridges it can be used on a 64-bit system as well. Standalone can be used on 64-bit systems too, and with the help of Wine works on OS X systems as well.
3 WAV files are included as well, to show the way the 3 presets work.
Beat Trickster is a powerful library featuring dark basslines, bright bells, cartoonish toy-keyboard sound and fiendish pads and atmospheres, perfectly suited to give Dubstep, Trap or other genres a malicious twist. It's based on the Beat Zampler//RX, developed by Synapse Audio for Beat magazine and can load sfz files + rex loops. The download includes the Trickster edition of Zampler//RX.
- Sample oscillators with SFZ, REX and REX2 support.
- Multi-mode filter.
- Three LFOs.
- Three ADSR envelopes.
- Complex modulation matrix.
- Arpeggiator / step sequencer.
- Effect section with overdrive, equalizer, phaser, chorus, delay and reverb.
- 1,666 GB of sample content.
- Additional soundsets available on the Beat magazine DVDs, www.zamplersounds.com and on www.zampler.de
- Easy to use.
- Low CPU usage.
- VST, AU (32/64-bit).
by iraisynn attinom
KVR developer challenge 2016 entry.
you can vote for antiknot here: http://www.kvraudio.com/kvr-developer-challenge/2016/
antiknot is a randomizable stereo signal processing effect featuring EQ, warm saturated tri band and single band compression, flanger, delay, reverb and uniphaser units.
- warm saturated tri-band and single-band compression, EQ, flanger, equalizer, tremolo, phaser, reverb, delay.
- Internal oversampling for aliasing reduction.
- Fully automatable controls.
- Randomization function for the whole unit as well as the individual chain parts.
- Preset saving and loading.
- Loudness protection / auto-gain function (no signal will be too loud or too quiet).
- Low CPU usage (full SSE and SSE2 support).
REFRACTOR is a synthesizer for Native Instruments Reaktor, based on Karplus Strong synthesis. Instead of using noise as the impulse this synth does use sample-wavetables. Therefore the results are much more experimental, unforeseeable and multifarious. Several delay lines, a multimode filter and special tweaks make this synth unique.
Works with Native Instruments Reaktor 5.9.4 and above.
Marie Ork is a voice bank for the free Plogue Alter/Ego singing synthesizer. She was created from recordings of a female death metal vocalist. Version 1.000 was created for the 2016 KVR Developer Challenge, and included two voices: growl which is a noisy unpitched vocal and space with capable of producing a discernible pitch with some unusual tones.
In version 2.0, her voice bank contains four voices, adding the clean singing voice and the talker. All the growl and space voice recordings were of English phonetics, while the clean and talker voices also have a few additional phonemes for Latin. Japanese is also supported, but will have an accent. More than 20 presets are included ranging from conventional singing to dubstep basses. The total download size is 652 MB.
voiceofsnow is experimental GUI-less plugin.
It uses spectral analysis to split the input signal into noise and tone components.
You can apply clipping and tilt equalization to shape noise component and then mix both components back for exciter-like effect.
by Evil Sound Lab
Malefica is a virtual high-gain distortion guitar pedal based on original schematic.
Let us tell you how we created Malefica:
First of all we have analyzed circuits of ton of guitar pedals to design the darkest, most evil and mystic tone with unique character that would fit a wide range of extreme music genres.
After that, we have made its physical model on the tip of the pen and prepared it with most precise and modern mathematical algorithms.
Finally, our designer has added magical artwork, and that is it! Witchery is alive.
- common output level (alias "Evil" in the plug-in), tone ("Witch"), dist ("Mist") and bypass controls;
- 3 modes switch for the different sound colour;
- 3 modes switch for the different clipping character;
- additional tweak controls: pre-gain and focus frequency of tone control;
- stereo/mono modes switch;
- 8x oversampling switch for an extra high precision.
- Download plug-in archive;
- Unzip needed plug-in version directory from archive into your VST plug-ins directory (e.g. C:\Program Files (x86)\Steinberg\Vstplugins\ for 32-bit version or C:\Program Files\Steinberg\Vstplugins\ for 64-bit version);
- (important) Download and install Oracle Java SE Runtime Environment 8 (or higher, x86 version for 32-bit plug-in version and x64 version for 64-bit plug-in version).
You can found it by the link.
We strongly recommend to download Online or Offline package versions (not just .tar.gz archive) (e.g. Windows x86 Online/Offline, Windows x64 Online/Offline), because they prepare necessary environment variables (PATH and JAVA_HOME);
- Rescan VST plug-ins directory in your DAW;
For Linux (without GUI):
- Download plug-in archive;
- Unzip content archive into your VST plug-ins directory (e.g. /usr/vstplugins/);
- (important) Download Oracle Java SE Runtime Environment 8 (x86 version). You can found it by the link. We strongly recommend to download Linux x86 *.tar.gz version;
- Extract downloaded Oracle JRE:
sudo tar -xvf jre-8u111-linux-i586.tar.gz -C /usr/java
- Edit home .bashrc to export variables:
- Perform installation in plug-in directory:
- Rescan VST plug-ins directory in your DAW;
Note: All commands and directories listed above - just for example, use on your own risk!
Please click on [HELP] button in the left corner of Malefica window to get Controls Help.
1.0.0 Initial version.
1.0.1 Next bugs was fixed:
- Traction 5 opens empty window plug-in (with nothing in it) and freezes;
- Only left channel works in mono mode;
- Cracking noise during rotation of the Volume (Evil) knob.
Thanks for reading up to this point and for using Malefica plug-in!
We hope that you will enjoy using it.
SuperSpread uses multiple pitch shifters to spread a signal thus allowing supersawing any input it is given.
Besides using it on any synths it is also a handy tool to create pseudo double tracking for guitars or to a lesser extend vocals. In case of guitars, it is best applied on a clean DI recording before amp simulations.
The source code is available on github.
- V1.1.0: Update to new JUCE version.
- V1.0.2: Fixed latency compensation in VST3 bypass.
- V1.0.1: Added mix control (click on GUI to toggle knob), Statically linked MSVCP140.dll.
- V1.0.0: Initial Release.
This plugin performs dynamic processing of mono/stereo input signal. Flexible sidechain-control configuration is provided.
There are possible different variants of dynamic processor to build: compressor, limiter, gate, expander, some kind of transient designer and many others due to possibility of flexible dynamic curve configuration.
Also dynamic range can be split into sub-ranges that may have their individual attack and release timings.
Random MIDI Arranger is a stand-alone Windows based program that can generate random MIDI songs at the click of a single button. It uses a combination of preset MIDI clips and sets of rules called 'Manipulators' to generate each instrument track. It also features a 'Render Engine' which determines song structure, track density, repetitions, tempo, etc. The results can then be exported to a MIDI file for further editing.
- Randomly generate entire songs in about 1 second with the click of a single 'Auto Randomize Song' button.
- New analog style Step Sequencer! (beta available at gradywerks website).
- Program uses 'Manipulators' to modify preset MIDI data using various techniques.
- Preset file containing MIDI Clips and Manipulators can be edited as if it were a regular .RMA song file. Just drag-n-drop into program to open it.
- User can create and edit Manipulators containing sets of up to 10 rules to define their behavior.
- Preset Clips and Manipulators can be given a score, which determines how frequently they will be used.
- Song structure and tempo can be automatically randomized or manually fixed.
- Each track can be set to randomly choose from selected MIDI channels, allowing different instruments each time a song is generated.
- Batch import patterns from the legendary Propellerhead Rebirth. Drag-n-drop multiple '.rbs' files into the sequencer to quickly build huge preset files.
Be sure to introduce yourself and provide some feedback on my gradywerks facebook page. I would love to collaborate with others in the future.
Fuzzed is an analogue modelling distortion plugin, using "state of the art" state-space modelling techniques to model the physical circuitry of the famous Jimi Hendrix guitar pedal and implement it as a VST plugin using the JUCE API.
Rather than simply modelling the general behaviour of the pedal, this plugin uses the circuit schematic to construct a highly accurate simulation of the pedal's behaviour, with full parametric control. This is then implemented as a VST plugin for use in real time.
Included are some analysis screenshots of the comparisons between the output of the system and the real pedal, which shows the behaviour of the VST to be highly comparable to the real thing.
This work is the result of continued development of a plugin created and submitted as part of an individual university project.
The examples show case the guitar tones produced, with an additional example showing the use of Fuzzed to add analogue distortion to a synth + verb as a return/aux effect.
Use of Fuzzed as a return effect can add beautiful analogue distortion to your sounds without losing the original tonal content.
**Update 14th December 2016**.
Added Windows 7 support.
**Update 2nd April 2017**.
Optimised performance on some machines. Changes to the circuit to improve the quality of the sound (especially for low frequencies).
RVK-808 is a VST3/VST/AU drum ROMpler for Windows & Mac, inspired by the classic TR-808.
- 272 quality samples.
- 17 drum kits.
- Assignable outputs.
- macOS Catalina Support.
WINDOWS: VST|VST3|AU 32 & 64-bit
MAC: VST|VST3|AU 32 & 64-bit.
Mac users: Now each of our plugins shares a single instrument library, saving you a lot of space on your hard drive.
Yooz BL-303 is a free contribution synth with Big Love to the legendary Roland TB-303.
Version 2.0 includes more beautiful user interface, sounds better and behave more like the original TB-303. The slide is now sliding to the next note and the filter envelope isn't retriggered. The Accent amount is growing if there are few accent notes in a row.
The sequencer part (including the slide and the accent) is handled with MIDI notes velocity:
- Shorten the note length a little bit, so it ends slightly before the next note (like the TB).
- Use the Velocity to control the Accent and the Glide.
- Velocity 0 – 9: Slide On.
- Velocity 10 – 100: Regular note.
- Velocity 101 – 126: Accent On.
- Velocity 127: Accent & Slide On.
Serpo is an extremely simple to use virtual instrument packed with original sounds recorded by artist from all over the world.
Explore Vocals from Sri Lanka, Violin from Morocco, Vichitra Veena from Italy, Stressed Chip Sounds from Germany, Trumpet from United States, Real Acoustic Drums and much more.
Serpo has everything you need to produce a track and works with all major D.A.W.S.
Compatible with both Windows and Mac.
- Acoustic Drum Kit.
- Grand Piano.
- Upright Bass.
- Male & Female Vocals.
- African Wood Flute.
- Steel Drum.
- Acoustic Guitar.
- Electric Guitar.
- Stressed Chip Noise.
- Sub Bass.
- Distro Bass.
- So Dope (Unique Hit).
Sounds recorded by:
- Vichitra Veena, Banjo, & Dobro - robertodiana (Italy).
- Whistle & Male Vocals - mercuryingemini (Sri Lanka).
- Rhodes & Stressed Chip Sounds - marcushorndt (Germany).
- Trumpet - classicbreeze2 (United States).
- Violin - majdalafhel (Morocco).
- Vibraphone - abnmusic3 (United States).
- Female Vocals - listentomarisa (United States).
- Upright Bass - tenvolt (United States).
- Organ - elginplays (United States).
- Theremin - djfluffy (United States).
- All other sounds were recorded by Jeff D (United States).
December, 19, 2016, New beta version 0.185:
Optimised algorithms, better sound
MBprocess is a multiband processor VST plug-in and standalone application for Windows.
- 2 bands Automatic Gain Control.
- 4 bands stereo expander.
- 5 bands compressors.
- Gain gate on AGC and compressors.
- 5 bands limiters.
- Brickwall final stage.
- Audio scope - out signal monitoring.
MBprocess can deliver variety of sounds, from clean to high density. It has been developed to be simple to use, without sacrificing quality.
Hundred of hours have been required for developing, listening, comparing with existing products, to make it high quality sounding.
MBprocess can be used in mixing, mastering, radio, TV, broadcasting. Others applications: When it is necessary to maintain a constant sound level, like podcasts, mixtapes, or from different sources in a PC. You can use it as a VST plugin (32-bits), as a standalone software (ASIO drivers inputs/outputs), as an insert in your windows sound (with Voicemeeter Banana and a virtual cable).
Extent of the Jam: Slam is an original algorithmic drum machine design inspired by analog drum machines of days gone by. It's made to allow users to create hard-hitting snares, beefy bassdrums, and all kinds of other sounds-- with ease.
Each sound was meticulously tweaked to give you deep organic sounds with a wide range of options and settings. Close your eyes and you won't even think it's digital.
But Extent of the Jam: Slam isn't content to just emulate old drum machines. While most old drum machines only had two levels of velocity (accented and non-accented), Slam gives you 127 levels of velocity for each drum. And it's not just different volume levels: the velocity alters how the drums react. It also features drums not commonly found on analog drum machines such as finger-snap and tambourine. It'll even produce gnarly synth bass tones that you can play on a chromatic scale.
Slam is 100% native C++ code.
FFT Randomizer is a JSFX script that does spectral randomization smoothly, both magnitude and phase, to shape audio randomly. It comes with similar settings as "cloud fractal noise" algorithms in imaging software (such as the layered cloud generation) but instead of generating images, you sculpt up the spectrum's both magnitude and phase with it. In effect, it's inspired by the Diamond-square algorithm, but it is not exactly the same, as it also allows you total control over each of the layers and obviously deals with sound, not images.
Be warned, this is a geeky and experimental effect, you will probably not understand it right away or find instant uses for it in your music. It's intended to design sounds or instruments and add some life to the basic noise types we're all used to, and shape up any sound you can think of randomly to make it more interesting. It's also an effect for perfectionists who like to fiddle around with sound in more bizarre ways.
This is not your conventional FFT randomizer/processor. Most of those FFT-based tools deal with FFT bins directly, for example by randomizing them all on each window, which doesn't have many uses in my opinion, because it's dependent on the window size for the underlying effects and limited to that "geometry". It uses mathematical models that are completely independent of the bins. The only time it affects the bins is at the end of the processing chain, when they are simply interpolated and smoothed based on the model calculated prior. Think of it as having a mathematical model that gets applied to pixels on an image with values between pixels interpolated — instead of randomizing each pixel itself, which is what standard and simple FFT tools would do. The latter is obviously worse, because its effect depends on the resolution of the image itself and is very limited in effect (it only makes high frequency noise!). As a result, the output on the sonogram can look like "clouds" if used on white noise input, but it works on any signal to shape it.
I strongly recommend that you use a Spectrogram/Sonogram to visualize what this effect does, best to start with white noise as input or while setting it up, and then replace it with the actual signal you wish to process. (for example I personally use Sonogram SG-1, an excellent and free Sonogram)
- Filter any input sound randomly and dynamically by changing its magnitudes and phases, independently.
- Layer-based random shape algorithm that changes with time, so you can have smooth shapes, or more noisy shapes, and have them slow or fast independently.
- Exact and independent control over each layer, even including a spectral graph to change the layer's effect on the output, depending on frequency.
- Special "Additive Mode" on phase amounts to have all the phases changed relative to a new "center", so the entire phase spectrum will shift, but randomly.
- Ability to use special MIDI Program Change events as triggers to "reset" the shape and get a new one, within a time specified.
Since you're probably still confused about it and without having a video, follow the below two examples to get an idea of what it can do and start playing around with it.
- Use a Spectrogram/Sonogram that allows you to visualize easily in realtime (the one I use: Sonogram SG-1), insert it after this script, and keep it open (to look at it).
- Send white noise to the input of this script, it should show up as white noise on the Sonogram for now.
- Reduce the Gain so it won't blow your speakers, say set it to -20dB.
- You should have Layer 1 selected in the drop-down by default. Then adjust the Magnitude Range (dB) to an amount that is less than the Gain, say to 16dB.
- Increase the Magnitude Speed (Hz) so the changes start to happen faster, make it about 1 Hz or so to be smooth, since we're on Layer 1.
- You should see patterns in the sonogram on the noise! Your white noise is no longer boring and static, and it varies over time: its magnitude over different frequencies is being changed. Try play with Magnitude Contrast and see what you get! What is the difference? Increasing the contrast clearly makes the variations more sharp, right? What about decreasing it?
And remember this is just one layer, try changing the layer from the drop-down menu and see the difference it makes (don't forget to also set that new layer's respective parameters, as all of the above are specific to each layer, except for Gain). Also remember that, while white noise is a good way to see and learn how this works, and even during designing the parameters and setting it up, the script can actually be used on any input! Please don't forget to turn Gain lower if you add multiple layers with more dB range, though.
Simple Example Showcase
Here's a very simplistic example of a nice evolving sound you can generate with it by just adjusting a few parameters:
- Send white noise to this effect.
- We want to change Layer 5, so click on Edit Layer dropdown list, and select Layer 5.
- Set the Gain (dB) to -27.
- Set the Magnitude Range (dB) to 42.
- Set the Magnitude Contrast to 15 (max).
- Set the Magnitude Speed (Hz) to 0.5.
- Set the Magnitude Speed Modulation Rate (%) to 120.
Behold a nice atmospheric and evolving breathy texture! And so far we've only been demonstrating white noise as input, when in fact it can be used on any input. You can hear this example in the audio player. The same settings, but applied to an Octaved Supersaw can be heard in the second audio example.
There are way more things and parameters which won't be explained in this introduction. For more information, visit its dedicated page here. You can look at the comments below for a lengthy explanation if you are confused of its purpose, or read that "essay" on its page at the Closing Words & Another Example section. :)
Remember that you will need a JSFX processor that loads JSFX scripts to load it. ReaJS from ReaPlugs is free in VST format, while REAPER can also load JSFX natively. (technically I believe Cockos open-sourced the interpreter, so there could be more)
Please note that the mono mode does not work yet in ReaJS as of this time, until Cockos updates it to add fft_real, it will only work in REAPER. The stereo one works fine though so you can use it in any DAW with ReaJS, but will use more CPU, otherwise it is identical.
Lastly, because it is a fully open script with no obfuscation, feel free to take a look at it or even edit it, I tried to comment where I found necessary. Be WARNED, though, that I optimized the audio processing part for speed. If you find it unreadable in certain parts, it is not on purpose! Just a side-effect of the optimizations... Most of the math is, however, not commented, since it would take too long to explain and I'm not good at explaining math (I used Computer Algebra Software to devise it from ideas anyway).
ScratchPlug by Dirkuz
The last second of incoming audio can be scratched, by dragging its waveform up and down in the GUI. If you want to automate the parameters, it's recommended to record your scratching movements via the GUI. Tip! Works good on short percussive sounds.
Kontakt Microtuner provides a generic Script designed to be used in any Kontakt Instrument with a spare script slot to add a Microtuner. 300+ Scales are included and Scala files can be converted using an online converter.
The script is provided as a preset which is added to the user Preset/Script folder and then available from the preset menu of each script slot. The Microtuner Patches need to be stored in the Kontakt Installation folder as this is the only folder that is accessible from both Library Instruments and non-library instruments for some reason. Unfortunately the pictures folder is not available from library instruments too and so the script must remain ugly.
A collection of 86 patches (sfz+fxb) for cinematic and atmospheric sounds.
Pads, FX, Percussions, Atmos.
24-bit WAV files 260MB download size.
kalipheno is a sci-fi themed sample pack created using a variety of sounds I have created from sources including percussive impact sounds, electronic toys and field recorded sounds. These have been mangled, glitched and processed in various ways in Sensomusic Usine Hollyhock II using Incipit by Inear Display; Subvert, Convex and Cryogen by Glitchmachines; Fog Convolver by Audio Thing and various delays and reverbs. The effects have been used in various configurations and routings.
The pack contains 296 samples comprising of atmospheres, textures, glitches, robotic artefacts and impacts which give the sound of a dystopian future.
I've added a demo track of some of the sounds which are played clean with no effects applied. The two demo songs have been created using only sounds from the sample pack processed with Tremolator by Soundtoys; Incipit by Inear Display; Cryogen by Glitchmachines; Spaces and Deelay by Hornet.
Update 1/12/16 22:50 Unfortunately the dropbox link appears to have stopped working due to high demand so I've added a new link at filehosting.org : http://www.filehosting.org/file/details/622804/ANDRULIAN_kalipheno_KVRDC16.zip
ClockWise Orange is a fractional delay based plug-in. With its multiple controls, it lets you perform many sound transforms which are well adapted to electroacoustic music. More than most traditional plug-ins, it is very convenient in live or interactive situations, since many interesting phenomenon appear while you interact with one or many of the parameters.
The provided version is free and fully functional, and includes a reference manual and a large set of example presets. Contact the author if you want a copy of the source code.
Easy Guitar includes 14 different instruments for Native Instruments Kontakt 5 Sampler:
- 8 Recorded from an Ibanez S Prestige tuned at 432Hz and played through a Conford Harlequin, a top of range boutique valve amplifier;
- 6 Recorded from Native Instrument Massive and Synapse Dune tuned at 440Hz.
All instruments are ready with up to 20 presets includes clean & distortion guitars, sequences and processed guitars with effects like vowel, phaser, formant, skreamer, wah and more:
- 11 different cabinet model;
- 3-Band Equalizer;
- Stero Modeller;
- Step sequencer for velocity, sustain pedal and volume;
- 3 mono modes;
- 2 portamento modes;
- Smart pitch bend;
- Send levels for chorus, flanger, phaser, delay & reverb.
A default preset with no effects can be loaded for each instrument so you can make your own presets.
As bonus included in the download are the synth presets used to make the synth guitars and the soundfonts file for all the instruments.
Any review will be more than appreciated! ..maybe with a good spoken English! :p.
Wave is a easy to use two oscillator subtractive synthesizer.
- Plugin is x64, copy WaveSynthPlug.vst to your 64-bit plugin directory.
- Some sample sounds: Copy WaveSynthDatabase.xml to directory /Users/myusername/Library/.
- Plugin is x64, copy WaveSynthPlug.dll to your 64-bit plugin directory.
- Some sample sounds: Copy WaveSynthDatabase.xml to directory %appdata%.
- (Example target: C:\Users\myusername\AppData\Roaming\WaveSynthDatabase.xml).
T.Rex ArgenSynth is a VST instrument synth plug-in for Windows.
- An arpeggiator and a step LFO.
- Two Oscillators.
- Five Waveforms: Sine, Sawtooth, Triangle, Square and noise.
- Delay - Reverb and Chorus-Flanger effects.
- Simple EQ.
- Retro Design GUI.
EWA KVRDC16 Preset Collection for LuSH-101 contains 50 preset sounds and 30 additional noise presets for the LuSH-101 software synthesizer:
- Arp: 3 presets.
- Bass: 6 presets.
- FX: 8 presets.
- Lead: 12 presets.
- Noise (Bonus): 30 presets.
- Pad: 8 presets.
- Poly: 7 presets.
- Sync: 6 presets.
Much care was taken to create useful and expressive sounds. Modulation and internal synth controllers have been mapped for expressive control.
Channel Pressure, Mod Wheel, and Pitch Bend have been used in nearly all of the presets.
- D16 Group LuSH-101 software synthesizer.
- A qualified computer and audio/midi interface.
Rules, Information, Guidelines, etc.Show/Hide Rules
Any operating system, any plug-in format, a stand-alone application, a sound library - anything that will assist in music making goes! You have two months to get it together - submissions will end on November 30th, 2016. They will all then be hosted for download on the KVR server and released "AT ONCE" for public appraisal and voting!
Although anything goes, you should consider how to appeal to the largest market - things such as open source or being multi-platform may garner a bigger audience, and consequently more votes. This is your call though. Whatever you are comfortable with!
- Anyone may enter (However, the NAMM Show Grand Prize, see below, is only available to entrants aged 21 or older).
- Your entry must be an original creation made by you (your team / crew / company / family). Of course you may reuse code / modules / development frameworks, but the actual plug-in / application / sound library should be a new, original creation, not just an obviously cut-down subset of a program you have already written.
- Your entry must not break any copyright rules or license agreements - if your entry uses GPL code then your code should adhere to any restrictions imposed by this, for example.
- Your entry must not be restricted in any way that could make it appear to be a demo / trial version for a subsequent "full" release. i.e. It must not be save-disabled or beep every few seconds or nag the user to donate / pay, etc. Your entry should be fully functioning and remain fully functioning forever.
- Your entry may support any operating system(s) in general use for making music: Windows, Mac OS X, Linux, iOS or Android.
- Your entry may support any plug-in format, or be a stand alone application / utility, or be a sound / sample library.
- You may use any programming language or development environment (e.g. programming languages such as C++, Delphi, Java, etc. or any of the myriad development applications such as SynthEdit, Flowstone, Max, etc.).
- Design and testing must be done in private - public beta testing is not allowed as this may affect the voting process.
- During the voting period you may update your entry but updates must be bug fixes ONLY. You are NOT allowed to add new features or rework existing ones during the voting period.
- You grant KVRaudio.com the permission to distribute your entry for download via our server from December 1st, 2016, onwards.
- You grant KVRaudio.com the permission to act on your behalf, without monetary involvement, for your entry to be published and/or publicized in/on written publications with or without accompanied media such as CDs and DVDs, as well as online publications. You may choose to opt out via a written (email) disapproval of such permission at the time of your entry. KVRaudio.com will not seek or make attempts at financial gain by promoting your entries on written or online publications.
How To Enter:
- To enter you will need a KVR Developer Account [get one here - it's free]. If you already manage your products and submit news directly at KVR, you will already have one.
- Access the Developer Control area and add your entry as a new product but remember to also set the KVRDC16 flag. Anything flagged as KVRDC16 will NOT be made live on KVR until the KVRDC16 go live date of December, 2016.
- KVR Members will vote for their favourite entries between December 1st-18th, 2016. Depending on the amount of submissions, the voting period (and consequently the winner announcement date) may be extended for another week or so. All KVR members will be eligible to vote although we may instigate some restrictions at the time of voting - maximum joined date, minimum number of posts, etc. - to help prevent voter fraud.
- Voting will be in the form of selecting a top 5:
- 1st choice will be awarded 5 points.
- 2nd choice will be awarded 4 points.
- 3rd choice will be awarded 3 points.
- 4th choice will be awarded 2 points.
- 5th choice will be awarded 1 point.
- The winners will be announced on December 19th, 2016.
- The prize fund will be delivered to the winners (or charity or recipient of the winners' choices) via PayPal within a week of the winner being announced.
The Grand Prize: Win a free trip to the 2017 NAMM Show in Anaheim, CA, USA
- I agree to allow KVR Audio and NAMM to use my image for promotional purposes.
- I also consent that I am submitting original material, of which I own all the rights.
- I understand that event details are subject to change.
- One winner will be selected from all entries for the Grand Prize, which includes airfare to and from Anaheim, CA for one person and one hotel room during the NAMM show, January 19-22, 2017.
- The Grand Prize winner must be 21 or over in order to win the travel prize (this does not affect the KVR member donations part of KVRC16).
- In the event that the winner is ineligible for the Grand Prize, or cannot attend the NAMM show, KVR Audio will select the winner with the next highest level of votes.
- The Grand Prize is not transferrable.
- The Grand Prize winner may reside anywhere in the world.
- Entries will be voted on by the public during the voting period.
- The highest number of votes determines the winner.
- Void where prohibited by law.
- Taxes and fees are the responsibility of the winner.
The Prize Fund (Money Money Money)
- The prize will be cold, hard, cash, made up from donations from the KVR community. Donations can be made via PayPal and will be held in escrow by KVR Audio until the winner has been selected. The prize will be paid to the eventual winner via PayPal. We'll endeavor to keep the prize fund total updated here.
- The prize fund will be split:
- 30% to the Windows Plug-in or Standalone Application entry with the most votes 1, 2
- 30% to the Mac OS X Plug-in or Standalone Application entry with the most votes 1, 2
- 20% to the next highest placed entry
- 10% to the highest placed Soundware entry
- 10% to a wild card random selection (maybe an iOS or Android entry, if we get any!)
- Additional prizes, donated by fellow developers, will also be available and distributed on an ad-hoc basis. If you wish to donate something please contact firstname.lastname@example.org
1 These can be the same entry. If it is multi-format and gets the most votes the entrant would receive 60% of the prize fund.
2 Yes we know Linux (and other OS) appears to be overlooked but the Linux (and other OS) userbase at KVR is very small so we'll concentrate prize distribution on the two major Operating Systems for audio production - Windows and Mac OS X. However, in the event of the unlikely situation that the entry with the most votes is for Linux (or another OS) only it will be awarded 30% of the prize fund and the next 40% will be split between the highest placed Windows and Mac OS X entries (20% each) and the "next highest placed entry" will receive 10% instead of 20%.