https://younomasteringservice.wordpress.com/plugins/

Youno Soft Saturation (Windows)
Youno Soft Saturation v1.0.2 Download

Youno Soft Saturation VST is a harmonic exciter that offers two slightly different “flavors” of harmonic distortion. The processing chain is carefully crafted to avoid adding any bad noise or aliasing. The plugin is also unique in the fact that it offers two wave-viewing windows to observe the incoming and outgoing wave shapes. It is ideal for any mixing/mastering situation in which you want to add more “beef,” “air,” or “grit” to a sound. Feel free to give it a try! Special thanks goes out to Ashville for helping design the GUI.


A snapshot of my soft saturation plugin.

 

http://www.grgr.de/IR/

IMPULSE RESPONSES

STUDIO NORD BREMEN
AMPLIFIERS & REVERBS

• IMPULSE RESPONSE FILES [AMPLIFIERS]
• [REVERBS]

Vox AC30

brilliant channel (10 files)
normal channel (12 files)
The AC30 (early 70s, bulldogs) was recorded with either a 1073 or a Gates STA Level as a preamp and converted with an Antelope Orion.

London City

50W (4 files)
100W (20 files)
The London City 100W has been modified for a larger and more transparent sound, the London City 50W is in original state. Both were combined with an Acoustic 4x12 Cabinet, preamped with a Gates STA Level and converted via Antelope Orion.

The impulse response files above were recorded in the big recording room at
STUDIO NORD BREMEN.

The microphones were placed on axis with a distance of approx 10inch (except »far« and »far amb«) and an abbreviation of the microphones name is part of the the file name.
RCA BX44, Neumann CMV3(big bottle) with M7 or M9 Capsule, Neumann U47-tube, Neumann U47-FET, Neumann U67, Neumann KM53, Neumann M49, Neumann KM184, Microtech Gefell M930, Audio Technica AT4033a, Sennheiser MD421, Sennheiser MD211(dynamic omni), Shure SM-57, Shure UnidyneII, MBO KA1000, Electrovoice RE-20.
Deconvolution was done with Voxengo Deconvolver.

The following impulse responses were recorded at several places by
GREGOR HENNIG.
Mics were usually placed on axis at a distance of less than one inch. Room mic impulse responses have a "rm" in their file name.
The recordings were done with Lorenz ÜV-300, Focusrite ISA 215 or DAV Broadhurst Gdns preamps and an Apogee PSX-100. Deconvolution was done with Voxengo Deconvolver.
This is a collection of what I set up for several recordings: none of the impluse responses is meant to be representive for the gear that I used.
Most impulse responses are parts of setups built as an entity of several direct and room mics and may sound insufficient when using single impulse responses.

Ampeg V4B Bass Amp

custom 4x12 Cabinet (12 files)
Marshall 4x12 gtr cabinet (8 files)
small Trace Elliot cabinet (3 files)

various Bass Setups
Musicman, Hardtke cabinet (2 files)
Hiwatt, Acoustic 4x12 (7 files)
Orange Matamp, 1x15 (4 files)
Orange with Custom 4x12 (6 files)
Orange Matamp, 4x12 (6 files)
Ampeg Combo (4 files)

Hiwatt 100W top
acoustic 4x12 cabinet (8 files)
acoustic 4x12 cabinet (6 files)

Mesa Boogie Rectifier
Rectifier with Mesa 4x12 (2 files)

Marshall Amps
blue anniversary JCM900, blue 4x12 setup1 (9 files)
blue anniversary JCM900, blue 4x12 setup2 (9 files)
JMP, custom / marshall cab. (7 files)
vintage 4channel JMP (4 files)

London City 100W top
LC Custom 4x12 (13 files)
LC Custom 4x12 (6 files)
LC punk cabinet1 (9 files)
LC punk cabinet2 (7 files)
LC acoustic cabinet (13 files)

Roland Jazz Chorus
Jazz Chorus (4 files)

Vox AC30 german edition (light grey)
AC30 bright, internal speaker (23 files)
AC30 normal, internal speaker (8 files)
AC30 bright, custom 4x12 (12 files)
AC30 normal, custom 4x12 (6 files)
AC30, acoustic 4x12 (4 files)

Vox AC120
AC120, internal speaker (2 files)

Orange Matamp
Guitar setup 1 (3 files)
Guitar setup 2 (4 files)
Guitar Setup 3 (4 files)
Guitar Setup 4 (5 files)

The distortion character of the amplifiers can not be part of convolution, of course. The impulse responses only mirror what amplifier, cabinet, microphone and room do with phase alignment and frequency range of the source material.
The amplifier impulse responses can be used with convolution reverbs or amp simulations like
VOXENGO BOOGEX.


STUDIO NORD ANALOG REVERBS

Studio Nord EMT gold foil (8 files)
Studio Nord EMT plate (3 files)
AKG spring (24 files)

The reverb impulse responses were recorded by Pascal El Sauaf at
STUDIO NORD BREMEN.


recording room picture by Felix Gebhard
control room pictures by Yelda Yilmaz

Impressum
Studio Nord - Mühlenfeldstrasse 23 - 28355 Bremen Vertreten durch: Gregor Hennig - email: [email protected]

 

https://hy-plugins.com/product/hy-seqcollectionwinmac/

HY-SeqCollection(Win/Mac)

Free version:

• 1 sequencer mode(Hexa Seq mode)
• no modulation possibility
• no midi learn

 

http://sonicbirth.sourceforge.net/download.shtml
http://sonicbirth.sourceforge.net/index.shtml
it's an oldy, but worth to learn. Development has stopped.


Creating powerful audio plugins

What is SonicBirth?

General overview
SonicBirth is an AudioUnit designing application. The first in its category, it allows users to build their own AudioUnit plugins, either by working with existing circuits or by creating circuits completely from scratch. SonicBirth is also a free AudioUnits package, as it comes bundled with a set of plugins designed for standalone use as plugins as well as pre-constructed circuits to modify or build upon for creating new plugins. Whether you're looking for traditional eqs, compressors, and reverbs, or softsynths, distortion, and filters, etc., SonicBirth allows you unprecedented freedom and creativity over your sound.

SonicBirth is based on a powerful, flexible engine. Every plugin can be used in 32 bits or 64 bits for added precision. Since all plugins share this engine, any improvement in speed will benefit all of them.

Take a look at the visual tour to see how simple and powerful SonicBirth is.

SonicBirth got a special mention in the Apple Design Awards 2005.

Developing and sharing your own plugin


SonicBirth allows you to modify the prebuilt plugins and create new ones from scratch. For example, you might want to take the Multiband Scraper, and make the frequency controllable via a MIDI keyboard instead of an on-screen slider.

You could take two circuits (elements patched together), and mix them in an original way! SonicBirth allows you to create and modify a plugin while it is playing, so you get immediate results.

Best of all, you can share the results with everyone! (If you wish, you may also submit your plugins for them to be bundled with the main application.)


Try it out!
Hop on to our download page and try the last version.


SonicBirth v1.3.0
Make sure you read the installation instructions, and the documentation, which is available from the main application using the Help menu.
System Requirements
SonicBirth requires MacOS 10.3.9, QuickTime 7, and any host application that supports the AudioUnit or VST plugin format.

Download SonicBirth v1.3.0 (Universal binary)

Spoiler: CUSTOM INTERFACES

Custom interfaces

SonicBirth allows you to easily create custom interfaces to your plugins. You can use images to create the background, and even your own knobs, faders, buttons, pads, etc, simply by drag & dropping an image file.


In host design

With SonicBirth, you can also create audio effects and instruments directly in the host, saving you time and allowing you to work directly in your usual environment. You can also use it to modify the behavior of third party AudioUnits by automatically modifying its parameters or by adding processing elements on its inputs or outputs.


The prebuilt plugins
These are the currently available, free and fully working, prebuilt plugins. New ones will be added over time.

• Convolution reverb: Reverb using impulse responses.
• Graphic equalizer: Linear phase convolving graphic equalizer.
• 
  Flying Monkey Synth: A powerful, flexible soft synt. Requires an AU host capable of loading cocoa guis.
• 
  Multiband Scraper: Degrades the bit depth and sample rate of the signal independantly over and under a user selectable frequency.
• 
  Simple Reverb: A simple reverb based on Jezar's Freeverb, with the the addition of a feedback delay line and selectable filter.
• 
  Multiband Freeverb: Jezar's Freeverb with a twist!
• 
  MIDI Filter: A MIDI controllable, lowpass/highpass selectable filter. Frequency is set by the note pressed.
• 
  Bassdrum: A bassdrum synthesizer, with variable slope, punch and distortion.
• 
  Rainy synth: A simple synth showing a filter used in an unusual way to create a new sound.
• 
  5 Band Eq: A five band, with variable center frequency, Q and gain, completely MIDI controllable.
• 
  20 Band Eq: Simply a basic twenty band eq.
• 
  Width Enhancer: Stereo width enhancer/nullifier.
• 
  Limiter: a seven stages, 2 ms look-ahead limiter.
• 
  Compressor: Audio compression with variable attack, release, threshold, and knee softness.
• 
  Gate: Audio gate with variable attack, release.
• 
  Valve Warmer: A warm valve distortion simulator.
• Swamp Buffer: Record and replay live audio.
• Funky repeater: Repeats parts of the signal depending on the envelope.
• DC Blocker: Removes DC offset.
• Hum remover: Removes 50 or 60 Hz hum.
• Buff rice: Plugin created by Uli Reuter. Cyclic, hypnotic audio chop and replay (try it!).
• More to come!

Spoiler: CURRENT MODULES

Current modules
Algebraic

• Addition: Outputs the sum of both inputs.
  Inputs : a, b.
  Outputs : a+b.
  
  
• Add Many: Outputs the summation of 3 to 16 inputs.
  Inputs : in0, in1, in2, in3.
  Outputs : out.
  
  
• Substraction: Outputs (a - b).
  Inputs : a, b.
  Outputs : a-b.
  
  
• Multiplication: Outputs (a * b).
  Inputs : a, b.
  Outputs : a*b.
  
  
• Division: Outputs (a / b).
  Inputs : a, b.
  Outputs : a/b.
  
  
• Constant Addition: Adds a constant number.
  Inputs : i.
  Outputs : o.
  
  
• Constant Substraction: Substracts a constant number.
  Inputs : i.
  Outputs : o.
  
  
• Constant Multiplication: Multiply by a constant number.
  Inputs : i.
  Outputs : o.
  
  
• Constant Division: Divides by a constant number.
  Inputs : i.
  Outputs : o.
  
  
• Constant Substraction Alt.: Constant number substracted by input.
  Inputs : i.
  Outputs : o.
  
  
• Constant Division Alt.: Constant number divided by input.
  Inputs : i.
  Outputs : o.
  
  
• Negation: Outputs -x.
  Inputs : x.
  Outputs : -x.
  
  
• Inverse: Outputs 1/x.
  Inputs : x.
  Outputs : 1/x.
  
  
• Absolute: Outputs |x| (x if x>=0, -x if x<0).
  Inputs : x.
  Outputs : |x|.
  
  
• Absolute/Sign: Outputs |x| (x if x>=0, -x if x<0), and sign of x (1 for pos, -1 for neg).
  Inputs : x.
  Outputs : |x|, sign.
  
  
• Direction: Outputs 1 if input is augmenting, -1 if it is descending, 0 otherwise.
  Inputs : x.
  Outputs : dir.
  
  
• Multiply-Add: Outputs (a*b)+c.
  Inputs : a, b, c.
  Outputs : (a*b)+c.
  
  
• Multiply-Sub: Outputs (a*b)-c.
  Inputs : a, b, c.
  Outputs : (a*b)-c.
  
  
• Neg. Multiply-Add: Outputs -((a*b)+c).
  Inputs : a, b, c.
  Outputs : -((a*b)+c).
  
  
• Neg. Multiply-Sub: Outputs -((a*b)-c).
  Inputs : a, b, c.
  Outputs : -((a*b)-c).
  

Function

• Modulus: Outputs x % y (x mod y).
  Inputs : x, y.
  Outputs : x%y.
  
  
• Ceil: Rounds to smallest integral value not less than x.
  Inputs : x.
  Outputs : o.
  
  
• Floor: Rounds to largest integral value not greater than x.
  Inputs : x.
  Outputs : o.
  
  
• Nearest integer: Rounds to nearest integer.
  Inputs : x.
  Outputs : o.
  
  
• Exponential: Outputs e^x.
  Inputs : x.
  Outputs : e^x.
  
  
• Natural logarithm: Outputs ln(x).
  Inputs : x.
  Outputs : ln(x).
  
  
• Logarithm base 10: Outputs log10(x).
  Inputs : x.
  Outputs : log10(x).
  
  
• Power: Outputs x^y.
  Inputs : x, y.
  Outputs : x^y.
  
  
• Square root: Outputs sqrt(x).
  Inputs : x.
  Outputs : sqrt(x).
  
  
• Reverse square root: Outputs rsqrt(x).
  Inputs : x.
  Outputs : rsqrt(x).
  
  
• Quadratic Bezier: Outputs (1-t)^2*a + 2*t*(1-t)*b + t^2*c, where t is clamped to 0 .. 1. See http://en.wikipedia.org/wiki/B%e9zier_curve.
  Inputs : t, a, b, c.
  Outputs : o.
  

Trigonometric

• Sinus: Outputs the sinus of the input.
  Inputs : x.
  Outputs : sin x.
  
  
• Cosinus: Outputs the cosinus of the input.
  Inputs : x.
  Outputs : cos x.
  
  
• Tangent: Outputs the tangent of the input.
  Inputs : x.
  Outputs : tan x.
  
  
• Sinus and cosinus: Outputs both the sinus and the cosinus of the input.
  Inputs : x.
  Outputs : sin x, cos x.
  
  
• Hyperbolic sinus: Outputs the hyperbolic sinus of the input.
  Inputs : x.
  Outputs : sinh x.
  
  
• Hyperbolic cosinus: Outputs the hyperbolic cosinus of the input.
  Inputs : x.
  Outputs : cosh x.
  
  
• Hyperbolic tangent: Outputs the hyperbolic tangent of the input.
  Inputs : x.
  Outputs : tanh x.
  
  
• Arc sinus: Outputs the arc sinus of the input.
  Inputs : x.
  Outputs : asin x.
  
  
• Arc cosinus: Outputs the arc cosinus of the input.
  Inputs : x.
  Outputs : acos x.
  
  
• Arc tangent: Outputs the arc tangent of the input.
  Inputs : x.
  Outputs : atan x.
  
  
• Arc tangent (x, y): Outputs the arc tangent of y/x.
  Inputs : x, y.
  Outputs : atan(y/x).
  
  
• Inverse hyperbolic sinus: Outputs the inverse hyperbolic sinus of the input.
  Inputs : x.
  Outputs : asinh x.
  
  
• Inverse hyperbolic cosinus: Outputs the inverse hyperbolic cosinus of the input.
  Inputs : x.
  Outputs : acosh x.
  
  
• Inverse hyperbolic tangent: Outputs the inverse hyperbolic tangent of the input.
  Inputs : x.
  Outputs : atanh x.
  

Arguments

• Boolean: Boolean button with value for true and for false.
  Outputs : value.
  
  
• Slider: Basic slider with min/max.
  Outputs : value.
  
  
• Indexed: Indexed popup button with multiple values.
  Outputs : value.
  
  
• Points: Set of points making a line. Double-click to insert a point. Use left and right arrow to change interpolation type. Delete key to remove a point.
  Outputs : pts.
  
  
• Points Envelope: Set of points defining attack, loop and release. Double-click to insert a point. Use left and right arrow to change interpolation type. Delete key to remove a point.
  Outputs : pts.
  
  
• Points Frequency: Set of points suitable for fft conversion or generation. Double-click to insert a point. Use left and right arrow to change interpolation type. Delete key to remove a point.
  Outputs : pts.
  
  
• XY Pad: Two sliders combined in a XY pad.
  Outputs : x, y.
  
  
• Audio file argument: User selectable audio file with preset channel count.
  Outputs : chan 0.
  
  
• Keyboard Tap: Emits a single 1 when receiving a key stroke.
  Outputs : tap.
  

Midi arguments

• Midi slider: Outputs the value of the a midi parameter in a user supplied range.
  Outputs : value.
  
  
• Midi note state: Outputs the state (pressed or not) and velocity (0 to 1) for each specified note.
  
  
• Midi mono note: Outputs the note and velocity (in the range 0 - 1) of the current presser note. You can select to hold the last note pressed.
  Outputs : note, velo, numb.
  
  
• Midi multi note: Duplicates the subcircuit on the fly for each pressed note, up to a maximum of 16. The outputs of these subcircuits are summed, then outputed. You can specify the attack and release time in milliseconds. Both are clamped to 0 .. 60000 milliseconds. You must stop/start for changes to take effect.
  Inputs : atck, rlse.
  
  
• Midi multi note envelope: Duplicates the subcircuit on the fly for each pressed note, up to a maximum of 16. The outputs of these subcircuits are summed, then outputed. You can specify the attack, loop and release time in milliseconds. All are clamped to 0 .. 60000 milliseconds. You must stop/start for changes to take effect.
  Inputs : atck, loop, rlse, pts.
  
  
• Midi XY Pad: Two sliders combined in a XY pad, midi controllable. (Y controller is always the one following the X controller).
  Outputs : x, y.
  

Display

• Display value: Shows the first value of the input of each audio cycle. Can be used in the plugin interface.
  Inputs : in.
  
  
• Display Osc.: An oscilloscope that can be used in the plugin interface.
  Inputs : in.
  
  
• Display Osc. (Var. res.): An oscilloscope that can be used in the plugin interface.
  Inputs : in, res.
  
  
• Display Meter: A value meter that can be used in the plugin interface.
  Inputs : in.
  

Analysis

• Envelope Follower: Envelope follower with variable attack and release time, in milliseconds. The output is in positive linear units.
  Inputs : in, atck, rlse.
  Outputs : env.
  
  
• Look ahead: Basic look ahead: outputs the current enveloppe of the input signal, and the delayed signal.
  Inputs : in.
  Outputs : out, env.
  
  
• BPM Counter: BPM counter analyses its input and outputs the current bpm. Uses the last 4 events to average the bpm. Is considred an event when its input passes from under or equal to 0.5 to over 0.5.
  Inputs : in.
  Outputs : bpm.
  
  
• Debug: Shows the first value of the input of each audio cycle.
  Inputs : in.
  
  
• Debug Osc.: An oscilloscope for debugging purpose.
  Inputs : in.
  

Comparators

• Minimum: Outputs the smallest of both inputs.
  Inputs : a, b.
  Outputs : min(a,b).
  
  
• Maximum: Outputs the largest of both inputs.
  Inputs : a, b.
  Outputs : max(a,b).
  
  
• Sort: Outputs the min and max of both inputs.
  Inputs : a, b.
  Outputs : min, max.
  
  
• Less: If (a < b) the outputs c else outputs d.
  Inputs : a, b, c, d.
  Outputs : o.
  
  
• Equal: If (a = b) the outputs c else outputs d.
  Inputs : a, b, c, d.
  Outputs : o.
  
  
• Greater: If (a > b) the outputs c else outputs d.
  Inputs : a, b, c, d.
  Outputs : o.
  

Converters

• Msec to samples: Converts milliseconds into samples.
  Inputs : ms.
  Outputs : smpl.
  
  
• Samples to msec: Converts samples into milliseconds.
  Inputs : smpl.
  Outputs : ms.
  
  
• Linear to db: Converts linear values into decibels.
  Inputs : lin.
  Outputs : db.
  
  
• Db to linear: Converts decibels into linear values.
  Inputs : db.
  Outputs : lin.
  

Delays

• Delay: Delays the input signal by a variable time (maximum is user specified - clamped to 60 seconds). The dly input is in seconds.
  Inputs : in, dly.
  Outputs : out.
  
  
• Delay (samples): Delays the input signal by a variable time in samples (max: 100000).
  Inputs : in, dly.
  Outputs : out.
  
  
• Delay Sinc (samples): Delays the input signal by a variable time in samples, using 16 points Blackman windowed sinc interpolation (min delay: 8 samples, max delay: 100000 samples).
  Inputs : in, dly.
  Outputs : out.
  

Generators

• Sine Wave: Generates a sine wave, of frequency f (hz) and phase p (0 to 2pi).
  Inputs : f, p.
  Outputs : tone.
  
  
• Fast Sine Wave: Generates a sine wave, of frequency f (hz). Low cpu usage.
  Inputs : f.
  Outputs : tone.
  
  
• Saw Wave: Generates a saw wave, of frequency f (hz) and phase p (0 to 2pi).
  Inputs : f, p.
  Outputs : sawave.
  
  
• Triangle Wave: Generates a triangle wave, of frequency f (hz) and phase p (0 to 2pi).
  Inputs : f, p.
  Outputs : twave.
  
  
• Square wave: Generates a square wave, of frequency f (hz) and phase p (0 to 2pi).
  Inputs : f, p.
  Outputs : swave.
  
  
• Linear Noise: Generates linear noise (random values between -1 and 1).
  Outputs : lnoise.
  
  
• White Noise: Generates white noise (random values between -1 and 1, with gaussian distribution).
  Outputs : wnoise.
  
  
• Pink Noise: Generates pink noise (1/f noise).
  Outputs : pnoise.
  
  
• Random: Generates random values between -1 and 1, changing the value at frequency f.
  Inputs : f.
  Outputs : rnd.
  
  
• Random ramp: Generates random values between -1 and 1, changing the value at frequency f, interpolating between values.
  Inputs : f.
  Outputs : rnd.
  
  
• FFT Generator: Generates waves using FFT based on input points..
  Inputs : pts.
  Outputs : snd.
  

Filters

• DC Blocker: Cuts frequencies below 20 hz.
  Inputs : in.
  Outputs : out.
  
  
• Parametric Eq.: Parametric Eq: f is the center frequency, g is the gain or cut in dB (clamped in the range -15 .. 15). Q should be between 0.3 and 15.
  Inputs : in, f, g, Q.
  Outputs : out.
  
  
• Peak: Peaking eq, with constant Q (10) and dB gain (20 dB).
  Inputs : in, f.
  Outputs : out.
  
  
• Notch: Notch with constant bandwitdh (0.1 octave).
  Inputs : in, f.
  Outputs : out.
  
  
• Lowpass: Lowpass filter, 12/db octave (Butterworth), with variable cutoff frequency (clamped to [1, 20000]).
  Inputs : in, f.
  Outputs : out.
  
  
• Highpass: Highpass filter, 12/db octave (Butterworth), with variable cutoff frequency (clamped to [1, 20000]).
  Inputs : in, f.
  Outputs : out.
  
  
• Resonant lowpass: Resonant lowpass filter, 12/db octave (Butterworth), with variable cutoff frequency (clamped to [20, 20000]). Resonance should be between sqrt(2), that is 1.414..., for no resonance, and 0.1 for max resonance.
  Inputs : in, f, r.
  Outputs : out.
  
  
• Resonant highpass: Resonant highpass filter, 12/db octave (Butterworth), with variable cutoff frequency (clamped to [20, 20000]). Resonance should be between sqrt(2), that is 1.414..., for no resonance, and 0.1 for max resonance.
  Inputs : in, f, r.
  Outputs : out.
  
  
• Crossover: Linkwitz-Riley 24db/octave crossover.
  Inputs : in, f.
  Outputs : high, low.
  
  
• Bandstop: 24db/octave bandstop.
  Inputs : in, f1, f2.
  Outputs : out.
  
  
• Bandpass: 24db/octave bandpass.
  Inputs : in, f1, f2.
  Outputs : out.
  
  
• Lowpass (fast): Same as lowpass, but only checks its parameter once per audio cycle.
  Inputs : in, f.
  Outputs : out.
  
  
• Highpass (fast): Same as highpass, but only checks its parameter once per audio cycle.
  Inputs : in, f.
  Outputs : out.
  
  
• Resonant lowpass (fast): Same as resonant lowpass, but only checks its parameters once per audio cycle.
  Inputs : in, f, r.
  Outputs : out.
  
  
• Resonant highpass (fast): Same as resonant highpass, but only checks its parameters once per audio cycle.
  Inputs : in, f, r.
  Outputs : out.
  
  
• Crossover (fast): Same as crossover, but only checks its parameter once per audio cycle.
  Inputs : in, f.
  Outputs : high, low.
  
  
• Bandstop (fast): Same as bandstop, but only checks its parameters once per audio cycle.
  Inputs : in, f1, f2.
  Outputs : out.
  
  
• Bandpass (fast): Same as bandpass, but only checks its parameters once per audio cycle.
  Inputs : in, f1, f2.
  Outputs : out.
  
  
• Allpass: Allpass, with variable delay, clamped between 0 and 1 sec. Equivalent to a feedback comb filter followed by a feedforward comb filter. y(t) = a*x(t) + x(t-dly) - b*y(t-dly)
  Inputs : in, a, b, dly.
  Outputs : out.
  
  
• Feedback Comb: Feedback comb, with variable delay, clamped between 0 and 1 sec. y(t) = a*x(t) - b*y(t-dly)
  Inputs : in, a, b, dly.
  Outputs : out.
  
  
• Feedforward Comb: Feedforward comb, with variable delay, clamped between 0 and 1 sec. y(t) = a*x(t) + b*x(t-dly)
  Inputs : in, a, b, dly.
  Outputs : out.
  
  
• Formant filter: Formant filter with variable phonemes. Choose one on v1, another on v2, and you can mix between the two using input m [0,1]. Here are the phonemes: phoneme 0: eee (beet) phoneme 1: ihh (bit) phoneme 2: ehh (bet) phoneme 3: aaa (bat) phoneme 4: ahh (father) phoneme 5: aww (bought) phoneme 6: uhh (but) phoneme 7: uuu (foot) phoneme 8: ooo (boot) phoneme 9: rrr (bird) phoneme 10: lll (lull) phoneme 11: mmm (mom) phoneme 12: nnn (nun)
  Inputs : i, v1, v2, m.
  Outputs : o.
  

Feedback

• Feedback: Allows a feedback loop, with fixed delay (0.010000 seconds).
  Inputs : in.
  Outputs : out.
  

Distortion

• Valve: Valve distortion simulation. Level and character range is 0 to 1. Level is how much the signal is driven against the limit of the valve. Character is the hardness of the sound.
  Inputs : in, lv, ch.
  Outputs : out.
  
  
• Scraper: Degrades quality of sampling rate, and bit depth (parameters in the range [0, 1], where 0 is lowest quality and 1 is original signal).
  Inputs : in, sr, bd.
  Outputs : out.
  
  
• Scraper (quick): Degrades quality of sampling rate, and bit depth (parameters in the range [0, 1], where 0 is lowest quality and 1 is original signal). Less precise but faster version.
  Inputs : in, sr, bd.
  Outputs : out.
  

Audio file

• Audio file: Loads an audio file and outputs each channel.
  
  
• Audio player: Audio player plays the audio from the buffer when trig is non-zero. Start and end represents the playing offset. If end is smaller than start, speed is negated. Both these values should be between 0 and 1. Playing will loop if the loop input is non-zero. Speed give the playing speed, should be between -5 and 5. A negative speed means the buffers is played reversed.
  Inputs : trig, start, end, loop, speed, buf.
  Outputs : o.
  

FFT

• FFT Sync: States the fft size and block positions.
  Outputs : sync.
  
  
• Forward FFT: Outputs the forward fft of the input, with variable block size (delay).
  Inputs : sync, in.
  Outputs : real, imag.
  
  
• Inverse FFT: Outputs the inverse fft of the input.
  Inputs : sync, real, imag.
  Outputs : out.
  
  
• Complex to Polar: Converts complex fft blocks into polar fft blocks.
  Inputs : sync, real, imag.
  Outputs : ampl, phas.
  
  
• Polar to Complex: Converts polar fft blocks into complex fft blocks.
  Inputs : sync, ampl, phas.
  Outputs : real, imag.
  
  
• Convolve: Convolve two fft signals (in the complex plane).
  Inputs : sync, r1, i1, r2, i2.
  Outputs : ro, io.
  
  
• Points To FFT: Transforms a points function into frequency amplitudes. Range is in db.
  Inputs : sync, pts, range.
  Outputs : real, imag.
  
  
• Audio file To FFT: Transforms an audio file to an fft block (considering samples up to half the fft block size).
  Inputs : sync, af.
  Outputs : real, imag.
  

Miscellaneous

• Circuit: A circuit inside another.
  
  
• Constant: A constant number.
  Outputs : o.
  
  
• Equation: A mathematical equation. You can use these functions: sin(x), cos(x), tan(x), asin(x), acos(x), atan(x), sinh(x), cosh(x), tanh(x), asinh(x), acosh(x), atanh(x), atan2(x,y), pow(x,y), min(x,y), max(x,y), mod(x,y), abs(x), floor(x), ceil(x), nearint(x), inv(x), exp(x), log(x), log10(x), sqrt(x), revsqrt(x). Speed: compare the execute plan for: - i0*2*3 and i0*(2*3) - i0*i0*i0*i0 and (i0*i0)*(i0*i0) You can also enter an equation in the constant element (sqrt(2) for example).
  Inputs : i0.
  Outputs : o.
  
  
• Piecewise circuit: Depending on the value of the range input, a specific subcircuit is executed. This value is checked once per block of samples. The subcircuit which is entered when clicking next depends on the selected row in the settings window.
  Inputs : range.
  
  
• Samplerate Doubler: Audio processing inside this circuit is done at double sample rate, which can be useful (sounds better) for some type of calculations (filters).
  
  
• Timer: Outputs the time in seconds, when run is 1, outputs 0 otherwise. Time is reset then run switchs to 1.
  Inputs : run.
  Outputs : time.
  
  
• Timer loop: Outputs the time in seconds, looping back to 0 when arriving to the max time specified. Loops back to 0 when arriving to the max time specified.If the max is equal or smaller than 0, then it does not loop. Time is reset then run switchs to 1.
  Inputs : run, max.
  Outputs : time.
  
  
• Freeverb: Jezar's freeverb. (Room size: 0.5 to 0.999, damp: 0 to 1, wet: 0 to 3, dry: 0 to 2, width: 0 to 1, freeze: 0/no or 1/yes)
  Inputs : in1, in2, room size, damp, wet, dry, width, freeze.
  Outputs : out1, out2.
  
  
• Cleaner: Removes denormals, infinities and nan (not a number). Use this if your circuit can potentially create those numbers (division by 0, tan(pi/2), etc). The signal can optinnaly be clamped to [-1 .. 1].
  Inputs : in.
  Outputs : out.
  
  
• Points apply: Applies the points function using x and y as origin, width and height as size.
  Inputs : i, x, y, w, h, pts.
  Outputs : o.
  
  
• Bufferizer: Buffer object with three modes: silence (0), play (1), record (2). In playing mode, start and end represents the playing offset. If end is smaller than start, speed is negated. Both these values should be between 0 and 1. Playing will loop if the loop input is non-zero. Speed give the playing speed, should be between -5 and 5. A negative speed means the buffers is played reversed. In record mode, the buffer is filled from start up to its capacity.
  Inputs : in, mode, start, end, loop, speed.
  Outputs : out.
  
  
• Trigger: Trigger sends either the on value or off value depending on its internal state. Its state is initialized as off. If the t (trigger) input is higher than the tt (trigger threshold) input, its state is turned on. If the r (reset) input is higher than the rt (reset threshold) input, its stated is turned off. In case both events are occuring simultaneously, the state is turned on.
  Inputs : tt, rt, t, r, on, off.
  Outputs : o.
  
  
• Change Slower: Slows the rate of change of the input on a specified amount of milliseconds.
  Inputs : i.
  Outputs : o.
  
  
• Convolving reverb: Convolving reverb, 4096 samples latency. Max reverb length: 2457600 samples. Memory usage at max reverb length: 75.4 MBs
  Inputs : in, ir.
  Outputs : out.
  
  
• AudioUnit: Wraps a third party audiounit.
  Inputs : tempo, beat.
  
  
• AudioUnit (midi): Wraps a third party audiounit.
  Inputs : tempo, beat.
  
  
• Granulate effect: Granulator effect. Delay is max delay in seconds to create grain from (max 10 seconds). DRandomness is a value between 0 and 1 affecting the grain's delay.Ramp is a value between 0 and 100. At 0 no attack or decay is used. At 100 it gives a triangular envelope, at 50 a trapezoidal envelope. Voices is the number of simultaneous grains (max 100). Length is the duration of grains in seconds (max 1 second). LRandomness is a value between 0 and 1 affecting the grain's length.Silence is the duration of silence between grains in seconds (max 10 seconds). SRandomness is a value between 0 and 1 affecting the silence's length.
  Inputs : i, delay, drndness, ramp, voices, length, lrndness, silence, srndness.
  Outputs : o.
  
  
• Granulate effect with pitch: Granulator effect with variable picth. Delay is max delay in seconds to create grain from (max 10 seconds). DRandomness is a value between 0 and 1 affecting the grain's delay.Ramp is a value between 0 and 100. At 0 no attack or decay is used. At 100 it gives a triangular envelope, at 50 a trapezoidal envelope. Voices is the number of simultaneous grains (max 100). Length is the duration of grains in seconds (max 1 second). LRandomness is a value between 0 and 1 affecting the grain's length.Silence is the duration of silence between grains in seconds (max 10 seconds). SRandomness is a value between 0 and 1 affecting the silence's length.Pitch is the grain playing speed (0.5 to 5) - can be negative. PRandomness is a value between 0 and 1 affecting the pitch.
  Inputs : i, delay, drndness, ramp, voices, length, lrndness, silence, srndness, pitch, prndness.
  Outputs : o.
  

Internal

• Interpolation Precision: Sets the interpolation type of the audio engine.
  
  
• Bit Precision: Sets the bit precision of the audio engine.
  
  
• Midi settings: MIDI settings central control.
  

 

http://cps.bonneville.nl//intro.php




What is CPS?

CPS is a realtime interactive programming environment for audio, MIDI and other media & I/O. Patches are build by placing objects and making wires between them. Areas of interest are sound design, algorithmic composition, DSP, electronic/computer music and education. CPS can be used in any realtime situation where sound plays a role.

Build-in objects allow you low-level access to audio MIDI and other I/O, and any processing in between. Objects include audio and MIDI (hardware&file) I/O, fourier analyse, filters, noise generators, envelopes, delays, lfo's, effects, and much more objects like tables which you can fill with 'generators' (a feature which derives directly from Csound), several network options, joystick, serialport, video processing units (through Quicktime) for layered playback of video & images, VST hosting of VST plugins/instruments, MP3 decoding, and all MPEG-4 Structured Audio opcodes (which are on their turn based on Csound). The best of as well graphic and text editing comes together inside CPS. There is a list of all objects in the manual.

CPS is not only a realtime toolkit; it is also a friendly graphical user environment. CPS has a subpatch architecture (of unlimited depth), with which you can put parts of you patch within one object. Furthermore, objects in CPS have a dynamic number of in- and outputs at runtime. Of course, it has full Undo/Redo, all objects have tooltips (including subpatches) and online help, working with subpatches does not slow down your patch, etc.

CPS has several features to support the user in making bugfree patches. The graphical positioning of objects does not affect the way your patch works; if something goes wrong you can see where it happens in your patch (the color of the object with the error changes); CPS has a strict visual separation between signals on audiorate (left-right) and controlrate (above-below) so that a patch idealy looks like a raster, etc.

Examples usages

Some example usages of CPS are:

• interactive realtime sound for art installations
• use CPS as a game audio engine inside your program
• sound design
• algorithmic composition
• create interactive sound-tracks for games or art related software
• create realtime sound effects and instruments
• generate and process realtime MIDI events
• education in audio processing, MIDI protocol, and logic programming

CPS is _not_ an environment with, by default, a few fat analog synthesizers and high-end effects, it's an environment to build them your own. In contrast to some other software with analog synthesizers and end-user effects (which are of course possible to build with CPS, and at some level also present in CPS), CPS blinks out in extremely good realtime controlrate processing (MIDI and logics in realtime) and audio processing with which you exactly know what's happening. CPS is still unique in controlrate processing at the windows platform, which makes it perfectly suitable for electronic music and interactive art installations.

More specificly you can also:

• use VST2-instruments/plugins and MP3 files in your patch
• make sound for webpages with the CPS Browser plugin
• process realtime MIDI input and generate realtime MIDI output for on stage
• exchange data for sound through the internet
• make an audio effect and make a stand alone application of it (C++/Java/Director/Shockwave)
• use self-made sensors on your serial port
• make sounddesign patches with true 'sampleprecision' (feedback loops of one sample)
• make algorithmic patches which generate MIDI output
• trigger video and images, layered on a screen and show it with a beamer
• learn how MPEG-4 Structured Audio opcodes work
• learn more about ANSI C++ programming, Java programming and plugins

 

https://www.kvraudio.com/product/voiceofsnow-by-sundevstudio
THIS IS GOLD!



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.

 

http://www.kvraudio.com/forum/viewtopic.php?f=31&t=424953

FOR LINUX



[start of quote]
Linux public beta (4408)

abique
KVRian
546 posts since 26 May, 2013, from Berlin

by abique; Sat Nov 15, 2014 4:51 amLinux public beta (4408)

Dear Linux users,

I'm pleased to announce the beginning of the Linux public beta test, with more plugins to try this time.

Here are the tarballs:
ACE-4408
Bazille-4408
Diva-4408
Filterscape-4408
Hive-4408
MFM2-4408
Podolski-4408
Presswerk-4408
Protoverb-4408.tar.gz
Repro-4365
Satin-4408
TrippleCheese-4408
Uhbik-4408
Zebra2-4458

To install a plugin, download the archive, extract it and run install.sh.

You can use the following script to batch install all of them at once:
CODE: SELECT ALL
#! /bin/bash
function install_uhe()
(
product="$1"
rev="$2"
cd /tmp &&
wget http://uhedownloads.heckmannaudiogmb.netdna-cdn.com/penguin/release/$rev/$product-$rev.tar.gz -O $product-$rev.tar.gz &&
tar xf $product-$rev.tar.gz &&
cd $product-$rev &&
./install.sh --quiet &&
cd /tmp &&
rm -rf $product-$rev $product-$rev.tar.gz
)

for product in ACE Bazille Diva Filterscape Hive MFM2 Podolski Presswerk Protoverb "Repro 4365" Satin TrippleCheese Uhbik "Zebra2 4458"
do
install_uhe $product 4408
done


Also, a big thank you to the beta tester team, with a special mention to phantom-one for his great job .
And an other big thank you for the support of the u-he team!

I hope that you'll enjoy this release!

PS: we are some users in the IRC channel #u-he on irc.freenode.net, we're waiting for you there
--
Alexandre.

[end of quote]

 

http://www.linuxsynths.com

A Sonic Palette on the GNU/Linux platform (1)
(Previously Amsynth.com)

6PM

ACE

Spoiler: synths...

Add64

Alsa Modular Synth

amSynth

Aspect

BeatZille

Borderlands

Bristol

Calf Monosynth

Calf Organ

Calf Wavetable

Cellular Automaton Synth

Chip 32

Csound

Dexed

Digits

Diva

DX-10

Gsinth 2

Helm

Hexter

Hive

JX-10

LB-302

Monique

Monstro

Mr. Alias 2

Mx44

Nekobee

Newtonator

OBXD

OpulenZ

Organic

Oxe FM Synth

Padthv1

Peggy2000

Petri-Foo

Phasex

Podolski

Protrekkr

Rave Generator 2


New to linux? Tips on getting your computer set up HERE.
Will my VST Synths work on linux? Find out HERE.

News Links Music! Contact

 

Last edited: Oct 4, 2017

http://www.linuxsynths.com

A Sonic Palette on the GNU/Linux platform (2)
(Previously Amsynth.com)

RTSynth

Spoiler: more synths...

Samplv1

SetBFree

Sineshaper

Sorcer

Soundgrain

Sunvox

Synthv1

TAL NoizeM4k3r

Triceratops

Triple Cheese

Triple Oscillator

Tunefish 3

Tunefish 4

Tyrell Nexus 6

VcvRack

Vex

Vibed

VOPM

Watsyn

WhySynth

Wolpertinger

Wsynth

Xsynth

Yoshimi

ZynAddSubFX

New to linux? Tips on getting your computer set up HERE.
Will my VST Synths work on linux? Find out HERE.

News Links Music! Contact

 

Last edited: Oct 4, 2017

http://www.u-he.com/cms/zoyd

Rumblence: Zoyd



The synth that started it all! When Apple introduced Audio Units back in 2002, the first thing I realised was that nobody had a decent GUI construction kit for plug-ins. While the early adopters kept discussing the general feature set of Audio Units, I went straight for creating a quick and easy GUI toolkit – which I called CAUGui. Released later as open source, CAUGui was abandoned when better stuff came onto the scene.

Nevertheless, CAUGui allowed me to create the very first Audio Unit with a fancy custom user interface. It was called Rumblence:pure, a distortion plugin that was buggy as hell! I kept working on it, and out came Zoyd, one of the very first synthesizer plugins for Audio Units on MacOS X. This was still before I became a serious developer, and Zoyd never really left beta stage. However, some people still use it now and again...

Download for Mac/AU

 

from KVR
https://www.kvraudio.com/news/image-line-updates-fl-studio-to-v12-5-1-and-releases-mac-beta-38701

download: https://www.image-line.com/flstudio/win-mac-compare.php
knowledge base: https://support.image-line.com/know...0.2086643998.1507130308-1975131898.1505564226


Image Line updates FL Studio to v12.5.1 and releases Mac Beta
2nd October 2017


Image Line has announced that FL Studio for Windows has been updated to v12.5.1. Plus, they've also announced that the native, 64-Bit, FL Studio macOS/OS X Beta is open for public testing.

Changes in FL Studio 12.5.1:

• Mixer - Closed Mixer left/right panels can be opened when mixer tracks are assigned to them.
• General Settings - 'Auto name effects' option is off, by default.
• Playlist - Hold 'Shift' while dropping an item onto a Playlist track header, to avoid or force 'auto-lock to content'.
• Control Surface - 'Min' and 'Max' properties can be set using percentages. 'Delete' option will delete all selected controls.
• Formula Controller - Uses FL Help file for syntax, instead of its own custom file.
• Bug-fixes and stability improvements - See here.

FL Studio is now a native macOS/OS X 64-Bit Application: You can test the 12.5.1 features listed above using the Beta installer here. Customers, drop into the Beta Test forum and let them know what you think.

The next major version of FL Studio will be FL Studio 20 - check out Looptalk to see what happened to FL Studio 13-19.


Read more at www.image-line.com

 

Last edited: Oct 4, 2017

http://forum.image-line.com/viewtopic.php?f=100&t=125055

FL Studio Native OSX VST plugins (Alpha 12 - 2015/11/25)


IMPORTANT NOTE: FL plugs on OS X were precursor work to the OS X native version of FL Studio. Since we have shifted development to the OS X Native version of FL Studio, AFTER that is launched we will re-release the OS X updates to these plugins. Thanks for your patience.

alpha 12 - 25th November 2015
(does not expire)

Please find VST plugins ported to OS X:



Edison, Gross Beat, Harmless, Harmor, Maximus, Ogun, Slicex, Sytrus, Vocodex


These plugins should work in any 32bit VST host program that runs in OS X. They may run in a 64bit host if it is capable of loading 32bit plugins, but this has not been tested.

We'd also be interested to hear experiences using these plugins in AU hosts using the AU version of Minihost Modular as a bridge.

Note: this is an Alpha release. A lot of things don't work as they should. There are issues with the Preset Managers, and these will all be sorted in later releases. Please let us know what doesn't work as expected below.

Enjoy!

Known issues
- Harmor: CPU load sometimes very high causing audio glitches. Temporary workaround: check if preset is using "Perfect" precision (Advanced tab) and if so change to "High".
- Harmor: Visual feedback window is still displayed inside the Harmor window. This is because plugin window resizing is not yet implemented.
- Harmor: drag-drop audio from other programs not implemented. Use open audio from a file instead.
- Maximus: The envelope editor menu button is positioned incorrectly (cosmetic issue only).
- Edison: prone to crash when using undo, graphical issues
- Vocodex: offset of envelope editor isn't correct

Changes
(alpha 12)
- bug fixes

(alpha 11)
- plugins can be unlocked
- rebuilt using latest sources and new compiler

(alpha 10)
- rebuild using latest sources

(alpha 9)
- rebuild using latest sources

(alpha 8 )
Edison fixes:
- mouse freeze problem
- repaint problem while playback and scrolling
- buttons paint problem
- out of memory problem
Vocodex:
- no audio in Live
Gross beat:
- text sometimes missing

(alpha 7)
- added Edison, Harmless, Ogun, Slicex and Vocodex

(alpha 6)
- Fixed: Menus appeared on primary monitor even if plugin window was on secondary.
- Fixed: Menu item text sometimes dissapearing
- Fixed: Clicking outside menu did not close menu
- Fixed: Empty white window left behind when closing plugin in some hosts.
- Fixed: Harmor now works more presets (including FREE Harmor Presets")

(alpha 5b)
- fix for multi-monitor bug

(alpha 5)
- General: FL-style menus instead of slow OS X menus
- General: UI-responsiveness improved (previously it could be hard to click on checkboxes etc.)
- Harmor/Sytrus: Fixed preset compatibility issues (3rd party presets)
- Harmor: Visual feedback panel can be now shown
- Harmor: About panel can be now shown

(alpha 4)
- Harmor: Swooshy sound (demo mode) now removed
- Harmor: Horizontal slider in IMG gui was missing
- Harmor: "Open Image" works
- Harmor/Sytrus: Preset names displayed in tree structure for easier navigation

(alpha 3)
- New: Harmor
- Improved stability when using several instances of the plugins
- "Create sequence" menu item now works
- Gross Beat: fixed problem with label text sometimes disappearing

(alpha 2)
- UI-code optimized to use less CPU
- Preset menus open much faster
- Sytrus: Analyze/Export waveform now works
- Sytrus: XY modulation works

Download SHA-256 checksum: D9B94C5F66AE466E44E3BC1AB2E85466556A46FB3C98EE6CEB66E5CE744C0668
ATTACHMENTS
PluginPack_alpha12.dmg
(59.95 MiB) Downloaded 16091 times

 

Last edited: Oct 4, 2017

https://forum.cockos.com/showthread.php?t=43741

MIDItoReaControlPath: free VST for extended learn/assgin
MIDItoReaControlPath is a kind of hacker* VST plug that routes incoming MIDI events to Reaper's control path and/or to the standard MIDI path. The VST uses Reaper's extension API for that and thus is only intended to be used with Reaper.
*Schwa kindly confirmed "that would probably be fine".



This plug is released "as I use it". No need for a "sexy" GUI for me: as you can see, 4 faders et basta! However, it offers lot of possible combinaitions and you can easily work with several instances (refined input criteria). You can do things like "route all CC -except those on channel 10- to the control path and pass others to the standard midi path".

What is it? Why ?
Quote:
Originally Posted by schwa
I think you are suffering from a common confusion of people coming to Reaper from other DAWs. Reaper currently has independent signal paths for control-CC-that-becomes-automation, and CC-that-gets-recorded-as-track-input.
You can't yet record CC as MIDI data on a track, then assign that recorded data as if it were an automation envelope, and you can't convert recorded CC to automation or vice versa. If you want automation, you have to record automation. If you want CC data on a track, you have to record MIDI CC.
The related FR is here: http://forum.cockos.com/project.php?issueid=1000

=> Adding MIDItoReaControlPath VST on a track allows you processing incoming/recorded/routed/generated MIDI events and automation as one and the same.
=> It's smarter/more efficient than using fake midi ports like MIDI Yoke (better timing, no extra MIDI hardware inputs/outputs needed).

In short:



Use case examples:
- enabling automations only for some MIDI harware inputs and for some MIDI msg types
- easier learn (i.e. filter channel + type of MIDI msg)
- combined other MIDI FXs, you can now process events before sending them to the conrol path
example: routing all CC4 to a given channel, so that it triggers the same action whatever is its original channel.
- MIDI item automation: FX params driven at "play time" through recorded midi items
- Complex/conditionnal FX control through JS effects (generating the CC events).
one of my use cases: reaDelay length live control according to the e-drummer's beat (live = no metronome)
- etc.. well, there're lot possible things! Here's another example:



Where:
- a JS "Action trigger" controls the transport commands (play, stop, ..)
- the played MIDI item (with learned CC, pitch and note events) is: driving FX params, muting/unmuting tracks, enabling/disabling FXs

Download:
MIDItoReaControlPath v1.0 (32-bit Intel Macs) new!
MIDItoReaControlPath v1.0 (64-bit Intel Macs) new!
MIDItoReaControlPath v1.0 (32-bit Windows)
MIDItoReaControlPath v1.0 (64-bit Windows)

Note for Windows: v1.0 makes extensive use of the SSE2 processor instruction set for maximum CPU efficiency. Older CPUs (notably the pre-64 Athlon XP series) that do not support SSE2 will not recognize it as a loadable plugin. The v0.2 build will run on older machines, it can be downloaded here.

Changelog:
Code:
v0.1:
- Initial release
v0.2:
- Compatible with Athlon XP (pre-64) processors
- 16 patchs
v1.0:
- Anticipative FX processing is now automatically turned off when needed
- Tighter build (463Ko -> 137Ko)
- Win x64 version
___

[EDIT]
Many things can be done.. but the examples above are perhaps not the best ones. A simple and typical use case of that VST that should talk to MIDI musicians would be (aka "automation MIDI item"):
say you play the keys and have a VST parameter learnt from one of your knobs (on the keyboard)...
Case 1:
... for that, you have enabled "Control" in the midi prefs for that MIDI input.
Then you have also armed a track (using the same MIDI input than above) and recorded an awesome keys part and used the knob like crazy during the record.
now, play: you just hear the notes what you did with the knob can not be heard (i.e. the VST param is stuck)

Case 2: you have top most number one MIDItoReaControlPath (default settings) on the track:
... for that, you have armed that track with the keyboard as MIDI input ("Control" is disabled in the midi prefs)
Then you have recorded an awesome keys part and used the knob like crazy during the record
now, play: you hear what you recorded, the FX param is grooving like crazy
[/EDIT]


Feel free to post feedback, your own use-case examples, bugs ("if any"), etc..
Jeff

 

it's beautiful to see how we contribute to the music scene... just after this post:

this Review
https://bedroomproducersblog.com/20...lugins_samples_2017_07_26&utm_term=2017-10-05

 

https://ccrma.stanford.edu/~kwerner/samples_such.html
Samples and Such | Kurt James Werner

Some recordings I have made that may be useful for friends and others, and brief accompanying comments. Feel free to use them in your music!

Toy Piano, Samples and Live Pack
I recorded these toy piano samples on Sunday, November 6th, 2011 in the CCRMA Recording Studio, using my Macbook and a detached Peavy guitar pickup. The advantage of using such a setup is that the guitar pickup is completely unresponsive to sound transmitted through the air, and only reacts to a changing magnetic field. So, the samples have very little high frequency noise from the atmosphere (in fact, Hunter and Chris were playing the viola and piano just feet from me as I recorded this). One unintended side effect of using a magnetic pickup is that these samples include mysterious subtones that are normally not heard while playing the instrument. My working theory is that these subtones are actually from a torsional mode of vibration of the the tines of the toy piano, a mode that is very inefficient at transmitting energy into the atmosphere or soundboard of the instrument (and thus, normally silent), but that still contribute to a changing magnetic field. These subtones can be interesting, but you will likely find that they do not contribute much to a realistic sound, and may want to use your preferred method to filter out frequencies below ~200Hz (the instrument racks include one possible method, using Ableton's EQ 3 as a highpass filter).

(thanks to Chris for providing the toy piano)

• Download a .zip of the individual .aif samples (recorded at 32-bit, 48kHz) [35MB]
• Download an Ableton Live Pack, this includes the samples themselves and both Simpler and Sampler instrument racks to play them [35.1MB]

Prepared Piano, Samples
I recorded these prepared piano samples in October, 2011 on the CCRMA stage using my Zoom H4n and its built-in stereo mic pair. The grand piano on the CCRMA stage had been prepared for a performance of John Cage's "Sonatas and Interludes for Prepared Piano," and I made recordings of each altered note, without and sometimes with the sustain pedal engaged (none of the notes above G#5 have a sustained version, as a consequence of my race against the recording time available to me).

(thanks to Sean for acting as my second set of hands while setting levels)

• Download a .zip of the individual .wav samples (24-bit stereo, 44.1kHz) [281.9MB]

Lowery Organ Drum Machine, Samples
I recorded these drum machine loops in May, 2011 using the 1/4" input on my Zoom H4n. They were played by an old Lowery organ. The organ feaures quite a few different drum patterns: Ballad, Bossa Nova, Dixie, Latin Rock, March Polka, Rhumba, Rock I/II/II, Samba, Shuffle, Swing, Swing Waltz, and Waltz. I've synchronized each of the recordings to 70 bpm and provided a version of each pattern with and without snares, as well as a brush pattern for each. The organ's controls allowed you to turn the snares on and off, and control the balance between the brushes and the rest of the pattern - this setup seemed like the easiest way to retain the flexibility of the original controls. Get ready for some retro goodness.

(thanks to Sam for providing the organ)

• Download a .zip of the individual .aif samples (32-bit stereo, 48kHz) [54.2MB]

Samples and Such by Kurt James Werner is licensed under a Creative Commons Attribution 3.0 Unported License.

 

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Kern – v1.1.0
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https://audiosex.pro/threads/andreas-busk-jepsen-are-you-prepared-free.10194/

Andreas Busk-Jepsen Are You Prepared FREE (prepared piano)