Ragnarök is a software instrument for Microsoft Windows (VST2/VST3/CLAP/AAX) and Apple macOS (VST2/VST3/CLAP/AU/AAX) simulating a custom-built one-of-a-kind analog synthesizer from 1980. It is written in native C++ code for high performance and low CPU consumption.
Ragnarök is the collaborative work of Hans Peter aka CrimsonWarlock aka TechnoGremlin (synth concept, GUI design, user manual, patch programming) and Björn aka Full Bucket (DSP+GUI+patch programming). Read more about the background of this project in the user manual and in the respective KVR thread!
The main features of Ragnarök are:
Up to 64 voices polyphony including portamento
Unique band-limited oscillator bank
Additional white noise generator
Multi-pole zero-delay feedback filter (6–12–18–24 dB/Oct low- or high-pass)
Two envelopes (ADSR or AD) with exponential slopes
Low frequency oscillator
Built-in and Chorus effect plus 7 band graphic equalizer
Cool repeat/pseudo arpeggiator functionality
Supports MTS-ESP by ODDSound dynamic micro-tuning
Resizable user interface (not "N" version!)
MIDI Learn – all parameters can be controlled by MIDI CC
K-Nation is inspirated by the Novation K-Station Synth. Its made for all kind of sounds,
such as basses, leads, pads & plucks, the synth is packed with 300 presets to make the best sounds for you, just enjoy this freebie and start make your own sounds.
There are 2 banks included with 300 presets in each bank in this package!
(Specifications).
Zoom: From -50% up to +50%.
Polyphony: Up to 8 voices polyphony.
Unison: 8x Unison for each oscillator with detune & retrig.
Preset Manager: 128 presets with (Save / Load / Save Bank / Load Bank / Copy / Paste / Init Preset).
OB-Xd is a classic synthesizer that captivates musicians with its rich, full-bodied tones and expansive sound design. Perfect for adding a vintage touch to electronic tracks, live recordings, or film scores, OB-Xd brings unique and expressive qualities to your music. Designed to recreate the Oberheim OB-X, it features enhancements like micro random detuning and unison for a fuller sound. Elevate your studio setup and music production with OB-Xd today.
What's New in OB-Xd 3:
Unlock Bi-Directional MIDI Control: Now with MIDI Out for true bi-directional communication. Mirror your MIDI CC from XML templates or create custom setups with MIDI Learn. When MIDI Out is enabled, it sends CC output to channel 1 (for all channels) or the selected channel. Ideal for controllers like the TouchOSC template or SFC-OB, enhancing your control and creativity.
New Unison Voices: This feature allows you to add multiple voice layers to each note played, creating a fuller and richer sound.
You can choose from 1 to 16 voices, where each additional voice adds complexity and depth to the sound. For the best effect, use this with the spread control set at half or higher to clearly distinguish the layered voices. This parameter is ideal for enhancing pads, leads, and basslines, offering a thicker, more immersive sonic character.
Enhanced Oscillator Features: The update introduces new Pulse Width Modulation Controls for intricate sound shaping, enhancing the sonic possibilities of the oscillators.
PW Offset: Adjusts the pulse width of Oscillator 2 with a unipolar knob based on the PW knob's setting.
PW Env: Modulates Oscillator 2's pulse width with the Filter Envelope.
PW Env Both: 1+2 button allows the Filter Envelope modulation to affect both oscillators' pulse width.
Advanced Filter Capabilities: Including Self-Oscillation, Filter Falloff Adjustment, and Adjustable Filter Envelope Shape, providing more control and variety in sound filtering.
Self-Oscillation: The 12dB filter now self-oscillates at high resonance levels.
Filter Falloff Adjustment: A new FLT CMP knob in the Voices section influences cutoff scaling.
Adjustable Filter Envelope Shape: Blends between exponential and linear shapes for the attack.
Filter Envelope Inversion: A new button for inverting the Filter Envelope output.
Enhanced Filter Keytracking Control: A refined knob offers precise control over the filter's response to keyboard tracking.
Level Difference Knob: Ensures consistent audio output during filter adjustments.
Refined Attack Envelope Shape: This feature introduces a sophisticated logarithmic-linear attack slider, offering unparalleled flexibility for dynamic sound sculpting. The slider enables users to precisely control the attack phase of sounds, ranging from subtle, gentle slopes for softer onsets to sharp, aggressive inclines for more pronounced attacks.
This dual-mode approach allows for a wider array of sonic textures, providing musicians and producers with the tools to tailor the attack characteristics of their sounds, whether they're aiming for a natural, smooth progression or seeking a more abrupt, impactful onset.
Oversampling Selection: Available in the registered version, this feature offers options for different sound quality requirements, including no oversampling (1x), 2x, or 4x.
MIDI and Preset Bar Enhancements: Improved usability and functionality, making it easier to manage and access MIDI controls and presets.
LFO Synchronization: Ensures perfect timing by syncing the internal LFO with your DAW's BPM.
Supported Formats:
Universal Binary 2: Native Intel and Apple Silicon.
Standalone Application: No additional software required.
ProTools AAX. Apple Audio Unit. Steinberg VST. Steinberg VST3. LV2.
Hybrid modeling drum kits featuring synthesized drums sound in classic analogue synthesizer such as TR-808, MS-20, Minimoog and others. Incorporating all-time classic analogue instruments with modern High-End processing hardware and production technique. A key innovative feature in Supreme Drums is its Fusion Effect System. Powered by groundbreaking AI technology, Fusion Effect combines EQ, dynamic processing and transient designer into only three easy-to-understand controls.
This effect can make an effective change in sound on the fly without the need for vast professional knowledge to carry out the operation.
A standout feature of Supreme Drums One is its support for MIDI 2.0 and MPE, offering users an entirely new way to interact with the instrument through their devices. The higher resolution of MIDI 2.0 provides more precise control over the sound, along with numerous advantages when used with the latest MIDI 2.0-compatible keyboards and controllers. Notably, this is the first time the Fusion Effect can be directly controlled via MIDI controllers using MIDI 2.0’s highly detailed controller messages.
Key Features:
Hybrid Modeling technology with a small size (45MB)
Innovative Fusion Effect Unit
Support latest MIDI 2.0 and MPE
Provides VST3 Version （Now only Windows Version, as Mac Version now need signing and notarize, it will take more time）
Amped Roots 2.0 is made in collaboration with our good friend Ryan "Fluff" Bruce and the sims featured are the best amps from Fluff's personal collection. This plugin runs ML Sound Lab's Vorna Amp Modeling, indistinguishable from real tube amplifiers.
3D CAB SIM
Amped Roots features a 3D cabinet simulator that allows you to mix and match cabinets to dial in your tone. You can move the mics from the middle to the edge of the speaker, front or back and even angle mics to get a beefier sound. Choose from 3 cabinets: Mega Oversize, Freeman V30 and Freeman M25 with 4 microphone options or load in your own IRs.
Pedalboard
Amped Roots 2.0 features a pedalboard with high quality effects pedals and studio effects.
Included pedals:
• Noise Gate
• Compressor
• Drive Pedal
• Chorus
• Analog Delay
• Reverb
Standalone
Amped Roots 2.0 comes with a standalone program that is MIDI controllable and stage ready.
Tuner
The latest Amped platform includes a reliable and precise guitar tuner section.
NEW AMPED FEATURES
This plugin runs on our latest Amped engine that includes a reliable tuner, MIDI capabilities and a standalone app making it extremely versatile.
TBPA Volume allows you to control the volume of the audio signal independently from the volume fader of the mix console. This is useful for adjusting the gain/volume between different plug-ins within a plug-in chain or for volume modulation/automation.
Product description
TBPA Volume allows you to control the volume of the audio signal independently from the volume fader of the mix console. This is useful for adjusting the gain/volume between different plug-ins within a plug-in chain or for volume modulation/automation.
TBPA Volume supports sample accurate parameter automation (VST3/CLAP/AU). Alternatively the parameter changes are smoothly interpolated.
TBPA Volume suppresses aliasing during high-frequency gain changes.
Features:
click-free 64-bit internal processing
master volume fader, left/mid and right/side fader
left/right, mid/side processing
adjustable min/max volume values
treat min value as negative infinity
lock max volume to 0 dB
volume modulation display
smart power button
smooth parameter interpolation
low aliasing
support of sample accurate automation (VST3/CLAP/AU)
My younger brother strikes again. I mentioned in the story of my previous submission, the LaPaz Guitar, how my younger brother wanted to learn guitar. What I didn’t mention in that story, is that the guitar would have been the umpteenth instrument he would have tried his hand at at that point. He’s played recorder, violin, xylophone, and a few others I can’t even remember. However, none of the instruments he’s tried his hands at have captivated him as long as his current instrument, the tenor saxophone. Where the other instruments held his attention for a year at most, he’s been playing saxophone for well over four years now, and even plays in the local intermediate orchestra. Having said all that, I never even thought about sampling him playing the sax.
Then, a few months ago, I had to do a project for school; me and a few classmates had to write and orchestrate a piece of balkan brass music. This composition had to include obvious distinct sections, one recorded instrument, one synthesised instrument, and one sampled instrument. Me and my team got to brainstorming who would do what, what we would record and sample, and what we would synthesise. The last part was the easiest, as we luckily had someone on board who was quite good at sound design, who also offered to synthesise a trumpet. The tricky part was figuring what to sample and what to record, as we didn’t know anyone who played brass. However, I then realised, I did know someone who played a brass woodwind: my younger brother! So me and my brother booked a few hours in one of the school’s recording studios, along with a small assortment of microphones, and got to work.
This is also my second experiment with multi-microphone recording setups, and my first voyage into mic controls. Admittedly, I used a somewhat unorthodox recording setup for this. One cardioid microphone (the Close Mic) about half a meter in front of the sax, a figure eight microphone (the Mid-Room Mic) about two meters from the sax with the sensitive side aimed towards the sax, and an omnidirectional microphone (the Far-Room Mic) behind the sax in a corner of the room. Though I don’t have a lot of experience in recording, I’ve found that I quite enjoy having a more roomy sound, hence this setup, as it both nicely captures the sax, and the room around it.
We recorded two octaves, with three velocity layers per note, and three round robins per velocity layer. We also recorded the various pads and keys of the sax, which I mapped onto the lower keys of the keyboard, free for you to add in as you please. I also have these sounds their own volume knob.
The one crux of this library, I think, is the volume disparity between velocity layers. I tried to fix that as best I could, but didn’t go too far with it for fear of disturbing the noise floor too much. Still, I don’t think it’s too big an issue.
In the end, I’m really happy with how this project turned out! I’ve got a few other sample libraries in the works which I’m slowly working on, and I want to experiment with true legato in the future as well, so this is not the last you’ll hear from me.
A Cinematic Piano Experience for Decent Sampler Felt & Fog is a minimalist, ambient, and neo-classical piano library designed for composers, producers, and sound designers seeking depth, texture, and atmosphere. Whether you’re crafting delicate piano themes, cinematic soundscapes, or eerie documentary underscores, this library offers six expressive layers to shape your sound.
Waves Audio has announced the release of a bundle pro-level tools used by some of the world’s top producers and engineers, at no cost. The Waves Free Plugin Pack contains 7 plugins.
From beautiful analog saturation and classic analog-modeled EQs and compressors, to specialty reverbs, FX pedals, and even a powerful FM synth—this pack includes high-end plugins you won’t find in your DAW’s stock library. Plus, future updates for the Free Plugin Pack are also free!
The bundle contains the following plugins:
Lil Tube analog saturation plugin.
IR Live convolution reverb, capturing the real-world acoustics of world-famous spaces.
GTR Solo, including many FX pedals and amp sims, good for synths, guitars, vocals, drums.
Flow Motion FM Synth.
In addition to these plugins, the pack also includes the Waves StudioVerse plugin chain library, which includes many custom mixing chains specific to this bundle of plugins.
The bundle is available now, limited to one registration per account.
Numa Player is a completely free virtual instrument. It's not only the perfect companion for your SL Keyboard, but it is also much more! The User Interface scales to different monitor sizes to fit best in your Audio/MIDI setup and makes Numa Player the first Studiologic Instrument Player available for Mac, Windows and iOS.
The advanced sound engine of Numa Player 2 takes your performance to the next level. It's now optimized to harness the full power of your device's multi-core cpu, delivering exceptional performance and ultra-low latency even in the most demanding setups1. Enjoy higher polyphony and smoother playback, no matter how complex your project gets.Designed with ultimate flexibility in mind, Numa Player 2 allows you to create and manage infinite Zones effortlessly. Add, duplicate, or drag and reposition zones with ease, all within an intuitive interface that puts full creative control at your fingertips. Customize each zone with its own sound parameters, keyboard ranges, and MIDI settings, or even assign custom colors for clear and easy navigation during your performance.
Numa Player 2 comes packed with an extensive library of professionally recorded, high-quality sounds, covering a wide range of music genres and styles. Among Acoustic Pianos, punchy leads, orchestral textures and intricate percussive elements, find the perfect sound to bring your music to life.Acoustic
Created in 2005 and still going strong. Podolski is a free, straightforward, CPU-efficient virtual analogue synthesizer. One oscillator, one filter, one envelope and an arpeggiator / sequencer. Simple, but with a few tricks up its sleeve. Create high quality sounds with ease.
Podolski UI
See all features:
Oscillator with variable symmetry (sawtooth to triangle, PWM) and glide
Polyphonic (up to 16 voices), mono, legato and arpeggiator modes
4 envelope modes: ADSR or HDSR, linear or exponential. Sustain has Fall/Rise control
Multimode filter: lowpass, bandpass or highpass with drive and FM
Combination arpeggiator / 16-step sequencer with extra modulation source
Skinnable UI
Over 300 factory presets
NEW in v1.2.3: Support for Oddsound MTS-ESP
At the time we released our current plugin versions, Avid could not provide an AAX SDK that would let us build Universal Binary AAX plugins. For this reason, we currently cannot support Pro Tools for Mac. Pro Tools for Windows is still supported.
For the time being, macOS Pro Tools users who are not running the native Silicon version should use the previous versions of our plugins, available from the Release Archive.
We hope to start work on native Silicon AAX support this year, as soon as our tight schedule allows. No ETA can be quoted yet.
