https://insessionaudio.com/products/fruit-shake/

FRUIT SHAKE
Available through Wed, Nov 21
FREE
CLICK HERE TO GET FRUIT SHAKE!
When you “Click Here to Get Fruit Shake” you will
be taken through our store checkout process.
This allows our system to give you a serial number and download.

Fruit Shake presents four fruit-shaped shakers and one carrot (for your good health!) in an easy-to-use interface based on our Shimmer Shake Strike percussion engine.

Designed for the free Kontakt Player platform, Fruit Shake is a musical, fun and simple way to add shaker sounds to a song, and is available at no cost for a limited time.

Apple. Banana. Lemon. Orange. Carrot.
(we promise: you won’t be able to taste the last one)

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Shake that thang!

 

https://shop.propellerheads.com/rack-extension/xem/

xEM
Bcase

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Introduction sale : Free for one week ! (ends November 11th)

xEM is a Peak, RMS or Dynamic Range stereo metering for 4 channels, one main input and one main output.

It adds two labels for each channel.

It can be used alone for metering up to 6 tracks.

It is the perfect SPEM companion : it adds stereo metering and labels to SPEM.

With adding xEM to SPEM you can have two different metering modes at the same time and get detailed labels. Or, in folded mode, you add just half 1U rack height and get labels.

Product details

• six stereo meters measuring Peak, RMS or Dynamic Range
• three calculation time windows : 0.4s, 3s, 10s
• Hold display function to show max
• transparent thru outputs
• two labels per channel
• labels in folded mode

You can download user manual here.

Don't forget to take a look at SPEM.

 

https://www.soundspot.audio/downloads/ravage-lite/



Ravage Lite
DOWNLOADS>> – MAC | PC
To celebrate the forthcoming launch of our powerful new creative distortion plugin “Ravage” we’re giving away the lite version absolutely FREE!! This offer is only available for a limited time, so grab your copy now and don’t forget to check out the full Ravage release on November 22nd.


When you’re striving to get that big & full sound like you hear on commercial releases, often the key ingredient in the mix is distortion.

Distortion adds additional harmonics to a signal, which increases the perceived volume. By increasing the perceived volume, your are able to reduce the peak levels in your mix which translates into more headroom for better masters.

Ravage Lite is a scaled back version of our forthcoming Ravage Creative Distortion plugin, which is perfect for when you just need a touch of extra warmth and sparkle in a highly CPU friendly way.

The Ravage Lite has just one flavour of distortion which is a combination of the 6 distortion styles found in it’s big brother. The Ravage Lite also includes up to 16x oversampling.



Download Instructions
• Download the trial version format required using the links at the top of this page

• Run the downloaded installer

• The trial version will automatically run for 14 days

• If a license has been purchased, click the settings icon in the top right hand corner of the plugin and insert your Activation Key

 

an idea: if people want to contribute with their most used freeware Sets for composing, mixing, mastering, sound design? It would be nice for the newcomer as for the experienced to get new ideas and contributions in this thread if needed. I explain further, this thread can expand from the "Best free software for making music" BUT also to the HOW do you make music with free software? so would this thread keep living not only from freeware posts but from interactive contribution from more people.. just saying, my 2cents..

here my simple example:

- SET Mastering Limiting Master Bus:

• Tokyo Dawn Labs TDR Nova
• Tokyo Dawn Labs TDR Kotelnikov
• VladG Sound Limiter 6
• Maat 2BusControl
• Youlean Loudness Meter / TBproaudio dpMeter

how is your mastering set ONLY with free tools?

 

• Please update your account before purchase
  xEM requires another version of Reason, Reason Essentials or ReCycle than what you currently have registered to your Propellerhead user account.
  
  BUY REASON
• It is free with the caveat that you already own Reason or Recycle.
  

 

My Mastering plugin chain if I had to use only FREE VSTs then it will be as follows,

1) Engineer's Filter by RS-Met (for high-passing anything under 30 Hz)
2) Baxter EQ by Variety of Sound (for a wee bit of M/S Eqing)
3) FerricTDS by Variety of Sound (for adding some gentle tape dynamics)
4) PTEq-X by Ignite Amps (for some gentle coloring of overall mix)
5) Freeverb3 Wind Compressor (for some multi-band compressing)
6) TP Basslane by Tone Projects (for monoing anything under 200 hz)
7) LoudMax by Thomas Mundt (as brickwall limiter)
8) SPAN by Voxengo (for spectrum analysis and stuff)

(p.s. I am no mastering expert. So, consider my above choices as just my personal preference. YMMV)

Cheers

 

@Baali Soda .. I never heard of Freeverb3 Wind Compressor nor could I find it at the Freeverb3 website. Where did you find it?

 

It is part of Freeverb3 project

Do check the below page for more details (Freeberb3 Impulser2 VST is another favt of mine, which is a very nice convolution reverb)

http://freeverb3vst.osdn.jp/

Cheers!

 

It is a good idea. But I hope you can start with a new thread/topic instead of doing it here.

I rather keep this thread neat and organize strictly for its purpose of "Free Software for Making Music".

You should start a new thread "how is your mastering set ONLY with free tools?" so people can give focus on the topic.

 

Websites like this confuse me and I never know what to download.

Is http://download.savannah.nongnu.org/releases/freeverb3/freeverb3-3.2.1.tar.xz and http://download.savannah.nongnu.org/releases/freeverb3/freeverb3-3.2.1.tar.xz.sig the way to go?

or most probably...https://osdn.net/frs/redir.php?m=dotsrc&f=freeverb3vst/68017/freeverb3_vst-slow-x64-doubleprecision-win-3.1.2.zip I am on a Windows machine.

Sorry, some things just go over my head.

 

That's the right link.

Freeverb3 VST bundle
For Windows 32 bit https://osdn.net/projects/freeverb3..._vst-slow-SSE2-doubleprecision-win-3.1.2.zip/
For Windows 64 bit https://osdn.net/projects/freeverb3...3_vst-slow-x64-doubleprecision-win-3.1.2.zip/
For Mac https://osdn.net/projects/freeverb3...b3_vst-macosx-fast-singleprecision-3.1.2.zip/

Cheers!

 

yes, starting a new thread is a better idea!

 

ok guys! it's done. Follow here for further contributions about how you use free tools:

https://audiosex.pro/threads/free-tools-mixing-and-mastering-sets.41740/

 

Get Free Sound Effects:


David DeLizza gives you a recording of a TheraGun Massage Gun (!) here

Bonus: More Free SFX:

• Download Soundly and get more than 300 free sound effects right here
• Get Thomas Rex Beverly's 'Free Sound Collections 1 & 2' here
• Get 30 high-quality jet fly-by sound effects from Airborne Sound here
• Get over 1GB of free SFX from a variety of SoundBits libraries here
• From old motorcycles to Asian percussion - Detunized has free sounds here
• Get souvenirs from the Galapagos Islands from Dynamic Interference here
• Get the 4th pack of freebies from Red Libraries right here
• Get tons of "free for personal use" from The Recordist's extensive library here
• Get free robotic voices, whooshes, kicks, and more from Antisample here
• Get EbV3rd - Lite (Rooms and IRS up to 5.0 Surround) from Tovusound here
• Get free the lite versions of Audiomodern's instruments here
• Get a free sample pack of 40 hi-tech sci-fi DPS sounds from The Coil here
• Get free sound effect Kontakt libraries from echo | collective here
• Get a free SFX pack from Bonson when you sign up for their mailing list here
• Sign up for the Hzandbits newsletter and get free access to The Vault here
• Sign up for The Sound Keeper newsletter and get free island sounds here
• Sign up for The Sound Catcher newsletter & get a variety of SFX here

 

first seen at audiosex.pro
ok guys, that's how i enjoy scouting interesting tools for the free world , live-stream convolving:

http://crossadaptive.hf.ntnu.no/index.php/2016/09/19/audio-effect-liveconvolver3/

http://crossadaptive.hf.ntnu.no



Author Oeyvind Posted on September 19, 2016 Categories Audio effect, Feature extraction

Audio effect: Liveconvolver3

The convolution audio effect is traditionally used to sample a room to create artificial reverb. Others have used it extensively for creative purposes, for example convolving guitars with angle grinders and trains. The technology normally requires recording a sound, then analyzing it and then finally loading the analyzed impulse response (IR) into an effect to use it. The Liveconvolver3 let you live sample the impulse response and start convolving even before the recording is finished.

In the context of the crossadaptive project, convolution can be a nice way of imprinting the characteristics of one audio source on another. The live sampling of the IR is necessary to facilitate using it in an improvised manner, reacting immediately to what is played here and now.

There are some aesthetic challenges, namely how to avoid everything turning into a (somewhat beautiful) mush. This is because in convolution all samples of one sound is multiplied with every sample of the other sound. If we sample a long melodic line as the IR, a mere click of the toungue on the other audio channel will fire the whole melodic segment once. Several clicks will create separate echoes of the melody, and a coninuous sound will create literally thousands of echoes. What is nice is that only frequencies that the two signals have in common will come out of the process. So a light whisper will create a high frequency whispering melody (with the long IR described above), while a deep and resonant drone will just let those (spectral) parts of the IR through. Since the IR contains a recording not only of spectral content but also of its evolution over time, it can lend spectrotemporal morphing features from one sound to another. To reduce the mushyness of the processed sound, we can enhance the transients and reduce the sustained parts of the input sound. Even though this kind of (exaggerated) transient designer processing might sound artificial on its own, it can work well in the context of convolutions. The current implementation, Liveconvolver3, does not include this kind of transient processing, but we have done this earlier so it will be easy to add.

There are also some technical challenges to using this technique in a live setting. These are related to amplitude control, and to the risk of feedback when playing on larger speaker systems. The feedback risk occurs because we are taking a spectral snapshop (the impulse response) of the room we are currently playing in (well, of an instrument in that room, but nevertheless, the room is there), then we process sound coming from (another source in) the same room. The output of the process will enhance those frequencies that the two sources have in common, hence the characteristics of the room (and the speaker system) will be amplified, and this generally creates the risk of feedback to arise. Once we have unwanted feedback with convolution, it will also generally take a while (a few seconds) to get rid of, since the nature of the process creates a revereb-like tail to every sound. To reduce the risk of feedback we use a very small frequency shift of the convolver output. This is not usually perceptible, but it disturbs the feedback chain sufficiently to significantly reduce the feedback potential.

The challenge of the overall amplitude control can be tackled by using the sum of all amplitudes in the IR as a normalization factor. This works reasonably well, and is how we do it in the liveconvolver. One obvious exeption being in the case where the IR and the input sound contains overlapping strong resonances (or single lone notes). Then we will get a lot of energy on those overlapping frequency regions, and very little else. We will work on algorithms to attempt normalization in these cases as well.

The effect

Liveconvolver3 in an example setup in Reaper. Note the routing of the source signals to the two inputs of the effect (aux sends with pan).
The effect uses two separate audio inputs, one for the impulse response sampling, and one for the live input to be convolved. We have made it as a stereo effect, but do not expect it to convolve a stereo input. It also creates a mono output in the current implementation (the same signal on both stereo outputs). In the figure we see two input sources. Track 1 receives external audio, and routes it to an aux send to the liveconvolver track, panned left so that it will enter only input 1 to the effect.. Track 2 receives external audio and similarly routes it to an aux send to the liveconvolver track, but panned right so the audio is only sent to input 2 of the effect.

The effect itself has contols for input level, highpass filtering (hpFreq), lowpass frequency (lpFreq) and output volume (convVolume). These controls basically do what the control name says. Then we have controls to set the start time (IR_start) of the impulse response (allow skipping a certain number of seconds into the recording), and the impulse response length (IR_length), determining how many seconds of the IR recording we want to use. There are also controls for fading the IR in and out. Without fading, we might experience clicks and pops in the output. The partition length sets the size of partitioned convolution, higher settings will require less CPU but will also make it respond slower. Usually just leave this at the default 2048. The big green button IR_record enables recording of an impulse response. The current max duration is 5.9 seconds at 44.1 kHz sampling rate. If the maximum duration is exceeded during recording, the recording simply stops and is treated as complete. The convolution process will keep running while recording, using parts of the newly recorded IR as they become available. The IR_release knob controls the amount of overlap between the new instances of convolution created during recording. When recording is done, we fall back to using just one instance again. Finally, the switch_inputs button let us (surprise!) switch the two inputs, so that input 1 will be the IR record and input 2 will be the convolver input. If you want to convolve a source with itself, you would first record an IR then switch the inputs so that the same source would be convolved with its own (previously recorded) IR. Finally, to reduce the potential of audio feedback, the f_shift control can be adjusted. This shifts the entire output upwards by the amount selected. Usually around 1 Hz is sufficient. Extreme settings will create artificial sounding effects and cascading delays.

Installation
The effect is written in the audio programming language Csound, and compiled into a VST plugin using a tool called Cabbage. The actual program code is just a small text file (a csd) that you can download here.

You will need to download Cabbage (the bleeding edge version can be found here), then open the csd file in Cabbage and export it as a plugin effect. Put the exported plugin somewhere in your VST path so that your favourite DAW can find it. Then you’re all set.


Export as plugin effect in Cabbage


Routing in other hosts
As a short update, I just came to think that some users might find it complicated to translate that Reaper routing setup to other hosts. I know a lot of people are using Ableton Live, so here’s a screenshot of how to route for the liveconvolver in Live:


Example setup with the liveconvolver in Live
Note that

• the aux sends are “post” (otherwise the sound would not go through the pan pot, and we need that).
• Because the sends are post, the volume fader has to be up. We will probably not want to hear the direct unprocessed sound, so the “Audio To” selector on the channels is set to “Sends only”
• Both input channels send to the same effect
• The two input channel are panned hard left (ch 1) and hard right (ch 2)
• The monitor selector for the channels is set to “in”, activating the input regardless of arm/recording

Whith all that set up, you can hit “IR_record” and record an IR (of the sound you have on channel 1). The convolver effect will be applied to the sound on channel 2.

 

It does work with Reason Lite

 

https://www.wiregrind.com/impulse-response-library/

Impulse Response Library


Wire Grind Impulse Response Sample Library contains impulse responses that you can use with convolution reverb software. The impulse responses are synthesized an algorithm that combines theoretical physics and measured acoustical data. Many of the impulse responses contain millions of echoes, and each of these echoes is calculated independently.

If you need more customized impulse responses, see our impulse response modeler. It will allow you to design, preview, and download individual impulse responses.

Specifications:
File Format: 24-bit WAV
Sample Rates: 44.1 kHz, 48.0 kHz
Channels: mono and stereo
Number of Impulses: 288 (144 mono and 144 stereo)
algorithm number: 7

License Agreement:
License.txt

Download:
Impulse Resonse Library (44.1 kHz) download size: 94.1 MB
Impulse Resonse Library (48.0 kHz) download size: 101.3 MB

Questions or Comments?
Your feedback is important. We have a hard time guessing which impulses will sound the best with your audio projects. Please suggest improvements we can make to our download packages (e.g., more treble here, less base on this one, more of that, etc.). Visit our contact page.

 

https://www.wiregrind.com/doffset/

Doffset DC Offset Remover - VST Plugin
current version: 1.1
Doffset is free plug-in for DC offset correction.

Audio signals often contain DC offset. DC offset is often not easy to recognize when using an audio editor. Offset correction can reduce the magnitude of a signal while maintaining the loudness. This is a potentially useful trick when mastering a track or when fighting in the loudness wars.



Doffset is specially designed to minimize any coloration to the signal and, at the same time, quickly adjust the signal to remove any DC offset. Doffset offers three modes of operation, each giving a slightly different trade-off between bass response and zero DC convergence time.

Three Modes
super low: This mode has the most bass but takes the longest amount of time to adjust to new offset. It will handle extreme bass, and it is suitable in all situations.

bass drop: This mode has an intermediate amount of bass and takes an intermediate amount of time to adjust to new offset. This mode is intended to handle deep bass, and it should be suitable for most situations.

guitar: This mode has the least bass but takes the shortest amount of time to adjust to new offset. This mode is intended for sounds that lack deep bass. It is suitable for sounds such as that of a guitar.

Download:
Doffset.zip (All versions)

Operating System:
Windows

Supported Sample Rates:
22050, 32000, 44100, 48000, 88200, 96000, 176400, 192000, 352800, 384000

Host Program:
VST3 compatible host program, or host program supporting more relatively recent versions of VST2.

Price:
free

Bug Reporting:
If any bugs are found, please report them on our contact page

 

https://sampsound.com/products/slamsnare









Slamsnare
Regular price$15.00 Sale price$0.00
Slamsnare is a snare sample instrument that was made for achieving hyper realistic drum tracks. Slamsnare is a part of the Slamdrum kit and has been used on various large productions such as Born Of Osiris, I Am Abomination and more.

Slamsnare is created for the Native Instruments ‘Kontakt’ application. Slamdrum consists of one sampled snare drum with multiple blending and tuning options.

Includes :

• Processed .nki and TCI's
• Slamdrum Drum Map
• Separate Kontakt routing file

HEAR IT BELOW

Requires Kontakt 5.6.1 and higher