All Plug-ins Tested with FL-Studio [except Apple stuff].
Androids with HTC-Desire & Samsung Galaxy Note II ... and little reminder that all the VST plugins
& Tools on the blog are free and legal. Not any crack or key.gen shit. Enjoy!
Thanks to an original mixture of FM, AM, additive and substractive synthesis, Rainbow is able to produce a wide assortment of sounds, from analog emulations or synthesized drums to 80’s electric pianos or synth basses. Each voice features up to 4 oscillators, with a variety of classic waveforms (Sine, Saw, Square, Triangle, Noise). These waveforms can be modified in a number of ways, including variable distortion waveshaper and rectification. Oscillators routing is fully dynamic, with sliders controlling the FM amount and mix output. This makes it possible to define your own FM algorithms, including crazy feedback combinations not found in typical FM implementations.
Finally, The mix from the four oscillators is processed by a warm multimode resonant filter (HP, LP or BP, with -12 dB/oct or -24 dB/oct slopes). A stereo chorus effect provides the finishing touch.
In addition to this classic FM/substractive architecture, Rainbow provides a few innovations that set it apart from other synths: oscillators can amplitude-modulate each other for unusual ringing textures. The onboard step sequencer can be used to generate hypnotic patterns and unique effects. Microtonal support is also available.
If you need classic sounds (like powerful analog basses or shimerring FM pads) with an unusual edge, Rainbow may be just what you need. There are many preset banks available for download, that demonstrate the power and originality of this unique synthesizer.
L3V3LL3R is a faithful model of the legendary "Leveller" hardware compressor from the '60s. These units are extremely rare and collectable due to the fact that less than one of them was ever made and sold. On the plus side, this did make it possible for platinumears to collect together ALL surviving examples, and thereby create a modelled VST version that is actually more like the original units than the original units were themselves.
The compressor uses an algorithm which is somewhere between feed-forward and feed-backward and which platinumears has therefore dubbed "feed sideways". It can be gentle and subtle if you want it to be. But its more fun when you slam it hard, especially on drums.
One knob compression: turn up the comp knob for more, turn it down for less.
Optional soft clipping keeps your peaks below 0dBFS: turn up the Gain knob to drive it harder.
Powerful envelope shaping, with no calibration for the time constants: use your ears!
Series mode: mode "II" runs two L3V3LL3Rs in series for some serious smashing.
Not that much cpu load at all really. Stick one on every track if you want....
Modeled after vintage analog phaser circuits, Blue Cat's Phaser reproduces this old vintage phasing effect that you can find on so many recordings, but with the precision of modern digital processing techniques. You can choose to apply up to 32 phasing stages, pushing the model to its limits, or create a subtle phasing effect with wet and feedback parameters set to a few percents.
You can also control the phase of the signal in the wet and feedback paths (these parameters can have negative values), which extends the possibilities of the model: the included factory presets will show you how many sounds you can get from this effect.
The MIDI control capabilities of this plug-in let you use it with any hardware or software MIDI controller, and the User Interface is totally customizable thanks to Blue Cat's Skinning Language support.
Dynamics processors are essential when recording, mixing and editing music. But when it comes to compressing an entire sum signal, a lot of digital compressors turn out to be unusable, many of them were made to process single-track signals only.
On complex sources they tend to produce a 'pumping' sound, distort or just make your music lifeless. There are manufacturers telling you 'this is the only compressor you'll ever need'. Don't believe them. Sound signals are far too complex to be handled by a single device.
Your music deserves care and attention to details. This applies especially to the post-mixdown stage, often referred to as 'mastering'. Endorphin is no universal talent either.
It is a specialist for complex sources like a mixdown, after having made minor sonic adjustments and right before burning the track to CD. Furthermore, it can help to increase depth, definition and loudness of a track. I call it an 'analog-style' compressor: endorphin uses models like frequency-dependent nonlinear operation, different harmonics creation stages as well as two basic compressor circuits taken from the analog realm. An overview on the features:
Two independent frequency bands (low and high frequency processing)
Switchable stereo or M/S mode operation
Two basic compressor designs:
modern vca mode with soft-knee characteristics and manual time constants. This mode provides an instant response behaviour and deep compression, using a feed-forward circuit
Vintage-style opto (photo resistor) mode, modelled after ancient opto-electrical compressors. The time constants stay manually set, but they are also affected by the signal's energy. This mode has the typical opto-style 'overshoot' on quick transients, this is one of the most gentle compressors you may find. Classical feed-back detector circuit
Adjustable high-level output stage with analog-style saturation
Global 'de-comp/sat' section. It's you who decides how the unit reacts to large amounts of gain reduction as well as when and how to saturate.
Maximum output: -0.1dBFS. This is very helpful when using the plugin as the last stage before burning the CD.
Torpedo PI-FREE is a channel strip plug-in based on Two Notes' flagship model, Torpedo PI-101, but only features 1 model of power amp simulation (EL34 / AB class), 1 speaker cab (based on a Marshall 4x12) and 1 type of microphone (based on a Shure SM57). And you still have the full Post FX section.
Of course, the PI-FREE plug-in features the unique Torpedo algorithm, originally found on Two Notes' VB-101 unit, that allows you to virtually move the microphone in front of the speaker cabinet (as you would in a real recording room) and to simulate the sound of a hard driven speaker.
The Anvil is a digital emulation of a three channels tube preamplifier for guitar. It has been developed to accurately model its real hardware counterpart, designed by Andy Zeugs.
The Anvil has three completely independent channels, with different signal paths and separate tonestack controls, to maximize its versatility:
The Clean channel is inspired by the classic Californian circuits and provides crystal clear tones even at high gain settings.
The Rhythm channel has a hot-rodded British character, varying from mild crunch to hi-gain distortion.
The Lead channel provides super-tight metal tones, retaining accuracy and responsiveness even at very high gain settings.
Every single component in the signal path of the real analog circuit has been taken into account and modeled in the best possible way to match the original sound, keeping an eye on CPU performance and real-time playability at the same time.
The Anvil is meant to be used as a guitar preamplifier for live playing and jamming, tracking or mixing inside hosts capable of VST or AU plug-ins support.
Dynamic 12AX7 / ECC83 coupled triode stages analog modeling.
Three channels: clean, rhythm and lead, each with fully separated controls.
Mono / Stereo processing support.
Selectable oversampling rate (up to 8x).
Global input / output level controls.
Double precision (64 bit) floating point mathematical model.
TAL-DUB-II is an extended version of TAL-Dub-I with a completely new sound engine. A 4x oversampled distortion stage allows to add vintage distortion to the delayd signal, but its also possible to make clean delays.
A sinus LFO has the possibility to modulate delay time and low pass filter cutoff. Adjustable LFO stereo width is also included.
An analog sounding 6dB low pass filter with resonance and a 3dB high cut filter are also parts of TAL-DUB-II. Different routing options open a wide range of possibilities.
Synced delay times (1/16, 1/8, 1/4, 1/2, 1/1, 2/1 and trippled and dotted notes).
4x oversampled distortion stage.
VU-Meter shows gain reduction.
LFO (low pass cutoff and delay modulation, stereo width).
6dB resonance low pass filter.
3dB high pass filter.
Midi learn for all pots.
20 factory presets.
DOWNLOAD (Win, Mac)
Special thanks to Flemming Bloch from Mindless Studio for testing and user interface optimation.
TAL-DUB-III is an easy to use delay device with some special features. Its no tape delay emulation and has its own sound. It has an alias free saturation stage, a non-linear 6dB low pass and a 3dB high pass filter that are included in the feedback path of the device. An input drive knob allows to adjust the saturation level. Pop-up menues show the current values of volume, delay-time and feedback knobs. A tab button allowing to adjust the delay time for live sessions.
Delay time up to 4 seconds.
Non linear 6dB Low-Pass filter.
3dB High Pass filter.
Alias free stauration, adjustable with the input drive knob.
Delay x2 for each channel.
Synced delay times (1/16, 1/8, 1/4, 1/2, 1/1, 2/1 and trippled and dotted notes).
Pop-ups show the actual values dB (input drive, dry, wet), ms(delay), 0..2 (feedback)
Led-meter shows the sturation level.
Tab button for delay time.
Midi Learn for all knobs.
The feedback knob is especially optimized for doing infinite delays.
Rangebastard is an emulation of a Dallas Rangemaster. It has added controls for tweaking or for use as a full-range booster, an overdrive, and more. All parts of the circuit are emulated, from the input filtering, to the interaction with guitar pickups, to the germanium transistor, and to the front-end distortion of a tube amp.
The Rangemaster was a germanium transistor treble boost developed in the 1960s. It and similar effects have been used by Eric Clapton, Brian May, and many more great guitarists. It's most often used to drive a distorted tube amp into more distortion, while boosting the upper-mids for a screaming lead sound.
Here's a new version of my PLEX synthesizer for free download! Sorry Mac users, it's 32-bit Windows only.
PLEX 2 is a "Restructuring Synthesizer". The original sound is split into four components, lower spectrum, higher spectrum, filter characteristics and amplitude envelope, using a new audio analysis technique. Each component can be replaced and combined with other elements. The result is a thrillingly "natural" sound.
New synthesis approach by "PPG legend" Wolfgang Palm.
Real-time swapping between components of 33 sound sources.
97 special pre-analyzed sound sources included.
3 ADSRs, 3 synchronizable LFOs, global pitch LFO.
Modulation section with Stereo Delay and Flanger effects.
Up to 64 voices, 300 presets included.
All parameters accessible via MIDI controller.
NOTE: Plex 1 was distributed by Steinberg as a commercial product.