EFQ-D VST WiN x86-HY2ROG3N

HY2ROG3N | WiN | VST | x86 | 6.7 MB

EFQ-D Dual Channel EQ VST – Influenced by the Focusrite 110
Dual channel mono EQ strip influenced by the Original Focusrite 110 as used by Sir George Martin

iRee VST WiN x86-HY2ROG3N

HY2ROG3N | x86 | WiN | 6.8 MB

iRee – Intuitive Reverb VST

Spiral VST AAX x86 x64 WiN CM Edition

VST (32 & 64B it), AAX (32 & 64 Bit) | 9 MB

Spiral CM is a brilliant harmonic visualisation plugin created for Computer Music by the boffins over at Photosounder.We’re already big fans of their flagship spectral sound design toolPhotosounder, and their feature-packedSplineEQ.

Samsara Cycle Audio SHEN

HY2ROG3N | x86 WiN | 7.5 MB

SHEN Gate Equaliser VST plug-in

Klanghelm SDRR – The Saturation Chameleon v1.0.1 x86

HY2ROG3N | The Saturation Chameleon | x86 | 22 MB

SDRR was build to satisfy almost all of your saturation desires. It provides a comprehensive set of controls to manipulate the character of the saturation to make it fit exactly. SDRR offers four different main modes: TUBE, DIGI, FUZZ, DESK and reacts dynamically to the input signal. Each mode has it’s unique crosstalk behaviour, which can be switched of or exagerrated. A unique RMS level difference metering mode makes level matching an easy task.

Sanford Phaser CM Edition v1.1 VST x86 WiN

CM Edition | VST | x86 | WiN | 10.2 MB

The Sanford Phaser is a VST plugin emulating a classic phase shifter. It is capable of a wide range of phase shifting sounds from subtle swirling effects to deep vibratoes. Its quadrature LFO enhances the stereo output by modulating the left and right channels 90 degrees out of phase with each other. Also, you can control the modulation depth in realtime with the modulation wheel or aftertouch.

U-he Satin v1.0.2 AU VST VST3 Ked MAC

iND | 28 September 2013 | 27.14 MB

Tape Construction Kit

We took a journey back to the Golden Age of magnetic tape recording. We wanted to recreate all kinds of tape machines in software, from the ground up. After many months spent on research, measurement and on developing an architecture that would be flexible enough for the job, we knew we had nailed it… But we couldn’t stop there: We added the old noise-reduction systems that were often (mis)used for timbral compression effects. Then more heads and a global feedback path, which made an uber-tape-delay and realistic ‘one-shot’ tape flanging possible.