Digimorph

Linda Audio releases Digimorph - experimental digital synthesizer. It does not emulate any real hardware, instead it brings original combination of substractive and additive synthesis with powerful modulation matrix. On top of that there are quality master fx (chorus, delay, reverb and two saturations) and arpeggiator. Digimorph is capable of wide range of sounds from ethereal evolving pads to gritty chiptune leads, raw digital basses or synth arpeggios, beatiful organs or some fm-like sounds. There are 200 presets included, covering all of these areas. Digimorph is great for modern electronic music, soundtracks, chiptunes, or anywhere where you need to add some original and interesting digital sounds.

The core of Digimorph is additive non-band limited oscillator which can contain mix of 16 harmonics. Its shape can be sinus, triangle, pulse, saw and multi-pulse. This can be run in monophonic, polyphonic (max 16 voices) or live-arp mode. In live-arp mode presed notes are automatically generating arpeggio sequence.

Additive section (violet) allows to set gains of harmonics. Other parameters are Phase shift - adjusts phase offset added to harmonics, Harmonics slope - adjusts how fast harmonics decay or rise in time and Harmonics lfo - introduces modulation to harmonics gains.

Each oscillator has several classic parameters (yellow) such as amp, pitch, fine tune, pan, glide and spread (random spread of notes in panorama).

There are some more sound-character parameters (orange section). Pulse width adjusts pulse width for pulse, saw and multi-pulse shapes and can be applied in two different modes - classic and harmonic. Wave shaper introduces wave-folding by sine wave. And Ring mod adds ring modulation by sine or saw wave with adjustable speed (this can be free or locked to harmonics).

In gray section there are sound degradation parameters - Bit div is sample rate divider, Bit feed introduces feedback of samples reduced by Bit div and Pitch noise adds random pitch modulation with variable speed.

After each oscillator there is one multi-mode, state-variable resonant filter (red section) which can be continuously switched between low-pass, band-pass and hi-pass with adjustable frequency and resonance.

Each oscilator can be modulated by two ADSR envelopes (one for amp envelope and second for anything else) and two LFOs. It can be also modulated by note velocity, modwheel (can be switched to listen also to aftertouch controll) and arpeggiator. LFO's amp and speed can also be modulated by ADSR 2 and by modwheel. All available modulations can be set directly by sliders in the center of the Digimorph gui

Arpeggiator is a tempo synchronized step sequencer of maximum 16 steps. You can adjust sequence length, loop start and tempo. For each step you can adjust oscilator pitch, shape and modulation source. Modulation source can be interpolated. 

In Live-arp mode you can select from several sequence shapes. If Arp-on switch is engaged, shape and mod arpeggiator modulations are applied.

At the end of the sound generator chain there are several master fx (blue section). Available is Chorus, Ping-pong delay, Reverb and two distortion modules (DIST1 adds more subtle harmonic distortion while DIST2 applies tube saturation).

Digimorph also provides undo, redo, A/B and 200 presets.

If you like and use Digimorph, please support its future development as well as development of my other plugins. You can donate via paypal:

DONATE

 

Below are download links:

Windows:

Digimorph 1.0.0 VST2 64bit

Digimorph 1.0.0 VST2 32bit

Here is a demo of Digimorph 

 

 

Hyperdrive

Linda Audio releases Hyperdrive - versatile saturation effect with advanced filtering and modulation features. It can add warm tube saturation to your drums or vocals, it can add some nice distortion to your bass guitar or add some nice auto-wah before guitar amp with integrated envelope follower, or you can turn it into screaming modulated synth filter.

The core of Hyperdrive are three distortion models - one diode and two tubes. You can adjust its drive and bias and engage additional gain boost. Distortion goes from really subtle saturation to rich screaming distortion especially with the Tube 2 selected. You can adjust input signal gain, output gain and mix of dry and wet signal.

In the center of the plugin interface there are three filters - hi pass, low pass and peak filter. Each with adjustable frequency and resonance, peak filter has also peak gain (can boost or take off selected frequencies). Each filter can be engaged before or after distortion stage by the pre/post switch.

On the left side of the plugin interface there is envelope follower with adjustable attack and release times and sensitivity, while on the right side is LFO. LFO can be synchronized with host tempo or free and you can select from four shapes - sinus, square, saw or reverse saw. Speed of the free LFO can also be modulated by envelope follower.

Both envelope follower and LFO can modulate filter frequencies, peak filter gain and distortion drive. This can really bring things to life.

Hyperdrive also provides undo, redo, A/B and 20 presets.

If you like and use Hyperdrive, please support its future development as well as development of my other plugins. You can donate via paypal:

DONATE

 

Below are download links:

Windows:

Hyperdrive 1.0.0 VST2 64bit

Hzperdrive 1.0.0 VST2 32bit 

Hyperdrive 1.0.0 VST3 

Here is a demo of Hyperdrive

InstaVibe

 Linda Audio releases InstaVibe - creative audio effect which can bring several kinds of modulation and distortion to your tracks. InstaVibe does not model any real hardware but it can be used for effects sonically similar to tape cassette (but it's not limited to). 

InstaVibe includes four effect sections:

Saturation

• Tube distortion
• Subtle harmonic enhancer

EQ

• 3 profiles, each with a slightly different curve
• Modes B and C add some additional distortion
• Can also be turned off
• LF and HF boost (resonance)
• Age parameter (narrowing the EQ)

Noise

• 5 different types of noise - 2 audio cassettes, 2 vinyl records, and brown noise
• Possibility of dynamically controlling the noise level with the input signal
• Adjustable noise pitch

Modulation

• Wow and scratch fluctuation
• Adjustable stereo modulation width
• Quad chorus with adjustable delay

InstaVibe also features Undo, Redo, A/B and 15 presets

 

 If you like and use InstaVibe, please support its future development as well as development of my other plugins. You can donate via paypal:

DONATE

 

Below are download links:

Windows:

InstaVibe 1.0.0 VST2 64bit

InstaVibe 1.0.0 VST2 32bit 

InstaVibe 1.0.0 VST3 

Here is a demo of InstaVibe on different instruments

SuperCrunch

 

Linda Audio releases SuperCrunch - great sounding and straight-forward guitar amp plugin. SuperCrunch does not model any real hardware but it is capable of very natural sound of classic tube amplifier. Its range is from sparkling clean sound through gentle and not so gentle crunch tones to wild rock and metal distortion. There are controls for input and output gain, drive gain and bright and there is a choice of two channels - crunch and lead. You can also blend in the clean signal. The very important part of this amp is the 8-band graphic equalizer which is engaged before the tube stages which allows very wide shaping of the distortion character. It can be also gain-compensated. On top of that there is also cabinet simulation which can be switched off and consists of two phase aligned impulse responses between which you can continuously blend. Finally, gate with adjustable threshold is also available.

 

 If you like and use SuperCrunch, please support its future development as well as development of my other plugins. You can donate via paypal:

DONATE

 

Below are download links:

Windows:

SuperCrunch 1.0.0 VST2 64bit

SuperCrunch 1.0.0 VST2 32bit 

SuperCrunch 1.0.0 VST3 

Here is short demo song featuring SuperCrunch on guitars.

Fuzzy

 

Linda Audio releases Fuzzy - versatile guitar fuzz distortion plugin with some extra features. Fuzzy does not model any real hardware but it is capable of wide spectrum of fuzz distorted sounds. Its range is from gentle fuzzy overdrive to complete rectifier mayhem. There are controls for input and output gain, boost gain and tone and there is a choice of two fuzz algorithms. On top of that there is also 8-band graphic equalizer with optional automatic gain compensation allowing radically change the overall sound. Finally, gate with adjustable threshold is also available.

 If you like and use Fuzzy, please support its future development as well as development of my other plugins. You can donate via paypal:

DONATE

 

Below are download links:

Windows:

Fuzzy 1.0.0 VST2 64bit

Fuzzy 1.0.0 VST2 32bit 

Fuzzy 1.0.0 VST3 64bit

 

 

Sonicrusher for MacOSX

Finaly I managed to build VST2, VST3 and AU plugins for Mac properly and it passes all validations. Here are unsigned plugins for Intel Mac. If anyone needs M1 version, I hope I will be able to build it in few days.


Sonicrusher MACOSX


So I will be happy if you can test it, and if you like it you can support its future development - there is a Donate link

DONATE

I would like to pay apple developer program to be able to properly sign plugins and I have some ideas to make Sonicrusher even better. Also I have prototypes of two other interesting plugins (very good and versatile guitar amp simulator and great Shimmer reverb/delay effect). And I hope there will be more.

SONICRUSHER

Linda Audio releases Sonicrusher - versatile compressor plugin with some extra features. Sonicrusher does not model any real hardware but it is capable of everything from gentle transparent compression to extreme compression that will smack your drums hard. It can be run in Modern level detector mode (feed-forward) for fast and hard transient shaping, or Vintage (feed-back) detector mode which is more gentle. It has adjustable knee and RMS and of course hi-pass (and even lo-pass) sidechain filter. It can work also in "Split" mode, which compresses high frequencies separately with slightly different parameters (It is useful for example on vocals or on some synths). One other special feature is "Crush" - band-pass or hi-pass filter with overdrive which can add some life back to the compressed signal and even can be controlled by actual compression. There is also clipper with adjustable threshold, and dry/wet mix. Automatic gain compensation is also available.

 

 

 

If you like and use Sonicrusher, please support its future development as well as development of my other plugins. You can donate via paypal:

DONATE

 

Below are download links:

Windows:

Sonicrusher 1.0.0 VST2 64bit

Sonicrusher 1.0.0 VST2 32bit 

Sonicrusher 1.0.0 VST3 64bit

Mac:

Here are unsigned plugins for Intel Mac (VST2, VST3 and AU). I hope in some near future I will be able to make M1 versions as well and get it signed properly. 

Sonicrusher MACOSX 

 

 

 Sonicrusher has three parts: compressor, crush/color section and output section.

 1) Compressor

DRIVE - input gain in dB. Affects the level of input signal which also affects how much overdrive occurs in Crush and Warm sections. -40 to +18 dB.

THRESHOLD - level of signal where the compression starts. Its behavior is dependent on fat/tight, pumping/solid and modern/vintage settings.

RATIO - how much is the signal attenuated after the attack time. From 1:1.25 to 1:32.

ATTACK - length of the attack phase (from zero compression to 1:RATIO compression). From fast to slow.

RELEASE - length of the release phase. Release phase starts when the signal goes below threshold again. From fast to slow.

HOLD - time that keeps compression even if the signal is bellow threshold in milliseconds. 0 to 500ms.

HI-PASS - hi-pass filter of the detector signal. Off or from 20Hz to 500Hz.

LO-PASS - lo-pass filter of the detector signal. Off or from 22KHz to 400Hz.

KNEE - the size of the compression knee rounding. At zero it is hard knee. 

RMS - length of the window for averaging input signal value. With RMS at zero it is the peak detection and the bigger RMS, the more energy is needed for compression to start. It is useful for example for harder drum transient shaping.

FAT/TIGHT - affects the curve of the compression and the threshold. TIGHT is more snappy and distinct compression while FAT is fatter and more stable.

PUMPING/SOLID - PUMPING is faster and more pumping compression, SOLID is more stable and less pumping compression.

MODERN/VINTAGE - in MODERN mode the signal detector works in feed-forward mode, while in VINTAGE it works in feed-back mode which usually provides more gentle and smooth compression.

HF SPLIT - compresses hi frequencies separately with slightly different parameters (It is useful for example on vocals or on some synths). HF knob controls how much high frequencies are mixed back to the signal.

2) Crush/color section

CRUSH - adds band-passed or hi-passed compressed signal which is sent through non-linear distortion and mixed back. The distortion is dependent on the input signal, Drive and Crush. 

CRUSH FREQ - crush filter frequency. 30Hz to 12KHz.

CRUSH Q - crush filter width.

HP/BP - crush filter type - hi-pass or band-pass.

ENV ON/OFF - when ENV is ON crush is controlled by actual compression (for example only on drum transients). With ENV OFF crush is constant.

WARM - adds another harmonic distortion. It is dependent on input signal level and on DRIVE.

COLOR - connected lo-shelf and hi-shelf filters which allows to darken or lighten the processed signal.

3) Output section

ST. LINK  - with ST. LINK ON the detector signal is average of left and right. With ST. LINK OFF detector for each channel is computed separately. In fact this belongs more to the compressor section.

CLIP - enables hard clipping. Everything above clip thresh is trimmed to this level.

CLIP THRESH - level above that the output signal is trimmed.

OUTPUT - output level in dB. -40 to +24 dB.

DRY/WET - mix of dry and processed signal. Dry signal is not affected by Drive, but it is affected by Output.

AUTOGAIN - it has two variants. 1) STATIC, compensates compression constantly and relatively to Threshold, Ratio, Drive, Attack, Release and Hi-pass. It does not affect the compression. But it is not accurate, it always depends on specific input material and its compression. 2) DYNAMIC - works very accurate on every material, but it is in fact another level of slow compression with long RMS window and it does affect the overall compression. AUTOGAIN can be switched off.

BYPASS - global bypass.

Metering

There are also signal meters in the left part. Input and output level and level reduction meter showing values in dB. Each meter highlights maximum value for two seconds.