Audio Damage Plugins Pack 2015.09.28 MacOSX

What happens when you combine a thick reverb, a filter, an envelope follower, an LFO, and a VCA? We wanted to know. The results are surprisingly useful. Mangleverb can be used as a filter, reverb, transient shaper, rhythmic gate, LPF gate, tempo-synced VCA, and any combination thereof. It is, for all intents and purposes, a Swiss Army Knife, for both wild sonic destruction and more utilitarian production work.

Want to make a cool smooth-shaped verby kick? No problem. A 16th-note stutter gate? Gotcha. A plain ol-fashioned funky duck envelope follower? We can do that. A huge 80s "Pour Some Sugar on Me" gated snare 'verb? Although we're not sure why you'd want to do that, with Mangleverb it is alarmingly easy.

Mangleverb has an updated version of the reverb algorithm from our long-deceased Deverb plug-in, along with our most popular analog filter model, an incredibly sophisticated LFO and envelope follower, sidechain input, a full I/O section, and just in case you want to replace your tweeters, a feedback knob. In short, the question isn't "what does it do?" but rather "what doesn't it do?"

» Simple-to-use algorithmic reverb that can be either pre- or post-filter/VCA.
» A monster resonant filter model with lowpass, bandpass, and highpass modes, and a drive circuit for gritty distortion.
» Sophisticated tempo-synced LFO with waveshaper to create all common (and some uncommon) modulation shapes.
» Envelope follower with internal, LFO, sidechain input, and MIDI trigger modes.
» Feedback path and modulated VCA for final signal taming.

Replicant is a delay-based effect in the "beat slicer/looper" vein, with some tricks of its own that separate it from the herd. From a simple delay or panning effect, on up to massive random beat mangling, Replicant is a capable plugin well in line with today's modern electronic music styles. Stuttering buffers and filter drops are easy to program, and the comprehensive randomization features give it a mind of its own, if so desired. If you're looking to add some chance to your programming, you've come to the right place.

» Tempo-based delay and looping effects, from 1/128th note to an entire measure.
» Six independant randomization controls, for subtle changes or extreme aleatoric madness, including a global randomize button.
» Our unique "Hold" feature, to store a random sequence you like.
» Resonant low-pass and high-pass filters that change over time.
» Pan position that changes over time.
» Two separate direction modes, for entire events or individual repeats, with randomization.
» MIDI Note Triggering of loop events for live playing of effects.
» Full MIDI Learn for hardware control of every parameter.

What do you get when you add an isolator section to a stack of three Rough Rider compressors? Rough Rider Pro! While most multi-band compressors are designed to do gentle dynamics control (and to be fair, Rough Rider Pro can do that sort of thing if you want) we added the Nuclear Option to this compressor. 1000:1 ratio? Check! Series mode for ludicrous squishing?

In short, Rough Rider Pro is for those times when you want to know your signal is compressed. Other compressors are kittens, rainbows, and gumdrops. This one is a 40-foot-tall fire-breathing lizard.

Isolator: Crossover section for simple control of input frequencies.
Multi-Band Mode: For a single Rough Rider compressor on each band.
Series Mode: For three Rough Riders in a row.
Super-Short Attacks: Attack time goes as low as 0.1ms, for use as a distortion unit.
From Gentle To Nuclear: Ratio of 1:1 to 1000:1 for complete control of signal dynamics.
MIDI Learn: Simple-to-use MIDI Learn feature for hardware control of all parameters (VST only).

Phosphor is a VSTi/AU instrument modeled on the alphaSyntauri, a vintage digital additive synth. The original alphaSyntauri required an Apple //e to operate, but we've gone ahead and eliminated the middle-man, and now you can have this classic digital synth in your DAW of choice.

Featuring two sixteen-partial additive oscillators, each with its own amp envelope, Phosphor's topology closely follows the alphaSyntauri, while adding many modern features such as full velocity control, a much more extensive modulation routing system, tempo synced LFOs, a pair of delays, and two monophonic modes. The noise and oscillators are able to work in the original alphaSyntauri resolutions, and can also be run at modern sample rates. All this results in a much more sophisticated and capable synth than the original, without compromising the ability to recreate the classic sounds of the early days of digital synthesis.

• Two complete oscillator/envelope sections modeled on the original topology of the alphaSyntauri.
• Each set of partials can run in "lo-fi" mode, emulating the original, or in a modern mode for alias-free sines.
• The noise can be either "lo-fi" digital shift-register noise, or modern white noise.
• Two complete delay sections with LP/HP filtering and cross-feedback.
• Two tempo-syncable LFOs with multiple modulation destinations.
• 80 presets included that show off the extensive sound generating capabilities of Phosphor.
• Full MIDI Learn.

From mild tone-shaping or adding a bit of grit to full-on total waveform destruction, Kombinat Dva is a complete toolbox of sonic warfare.

With 13 different options in each of the three distortion engines (plus pass-through), Kombinat Dva is capable of sophisticated and unique sounds. Want to add a ring mod to the low end, a mild tube clip to the mids, and a bit-reduction algorithm to the high end? No problem. Want to run your signal through three sine-warps or fuzz algorithms in series? This is your box.

Kombinat's signal structure allows for a fairly broad palette of sounds, as each segment of the overall effect is a versatile tool in its own right. On the front end is a full "DJ-style" band-killer EQ; this leads to the three distortion engines, which may be used in multi-band mode for subtle surgery, or in series mode for complete signal destruction. The engines go in to a two- or four-pole lowpass filter of our own design, and then in to a compressor which we have configured for one-control operation.

Taken as a whole, Kombinat is a tweaker's paradise, yet designed so that it is easy to just grab one of the 80 presets and touch it up a bit to suit the source material.
Crossover: Kombinat Dva features a DJ-style three-band isolator EQ for band-killing effects and extreme tone-carving on the front end. This leads to the three distortion engines, which can be run in crossover (multi) mode, or in series.

Discord3 is a comprehensive refresh of our popular Discord series of multi-effects. From subtle ADT effects to completely chaotic granular destruction, and everything in between, Discord3 is a capable and broad-reaching multi-effect plug-in.

The pitch-shifter consists of three separate algorithms: a "vintage" mode (the original Discord algorithm, modeled on the Eventide H910 and H949), a "clean" mode for more modern shifting sounds, and a "granular" mode for experimental effects. Each mode has its strengths, depending on the input material, and Discord3 has a broad palette of capabilities as a result. The P1 and P2 algorithms have full control over the buffer (window) size of the shift effect, for fine tuning the shift to the input signal, or for stranger sound effects. At the extremes of the six-octave shift range, some truly strange aliasing and artifacts can be had with this control.

Now, to be clear, if you're looking for a nice, clean diatonic pitch shifter for fine surgery and re-pitching the full program, you need to look elsewhere. Discord3 is a tool for sound design, barberpole shifting delays, and special effects; think Eno, Visconti, Bowie, or Dirty Mind-era Prince and you'll be on the right track.

With twelve voices inspired by the famous X0X series of analog drum machines and an internal sequencer that is second to none, Tattoo makes an excellent addition to the arsenal for any electronic music producer.

Each of the twelve internal voices has been created using our proprietary D-Plane synthesis, and each has been extensively tested and tuned in order to have a broad palette. Every parameter of every voice has its own modulation sequencer, allowing for extensive motion within a pattern.

The grid sequencer in Tattoo is a whole world unto itself, with comprehensive randomization features and multiple sync modes, including a MIDI note sync to enable use with virtually any time signature, groove template, or host swing. The sequencer has MIDI out (VST only) to drive other sound sources, to double or replace Tattoo's internal sounds.

Ricochet is a sophisticated, yet easy-to-use multi-tap delay, with the signature Audio Damage sound. Featuring a 16-step grid for programming tap time, Ricochet is right at home in modern electronic music production, designed specifically for that context, and is much quicker to program than the run-of-the-mill multi-tap.

Axon is a strange creature, and we won't tell you otherwise. Our goal was to come up with a new style of percussion sequencer/synth that wasn't linear and x0xy, and we succeeded beyond our wildest expectations. The Neuron Sequencer in Axon is a fundamentally different way of thinking about rhythmic sequencing, and results in new patterns and styles that will bring your IDM, dance, and ambient tracks to another place.

Axon's sequencer can either drive external synths and samplers or its own internal voices, seven of 'em, which are FM-based, but designed for quick and easy programming, and fine-tuned for percussive-type sounds. A full MIDI Learn complement allows external hardware control of both the sequencer and the internal voices, and an on-board stereo delay taken right from our fairly thick collection of delay algorithms extends the rhythmic possibilities right to the edge of what any sane person could possibly stand.

We'll be the first to admit that Axon is an experimental tool, and isn't for everybody, but if your interests lie in the abstract realm, and you want to take your rhythm and melody programming to strange new worlds, this might be just the thing.

One day not long ago, we were speaking with the music department head of a local college; he lamented the fact that there really wasn't a commercial-quality low-cost three oscillator subtractive mono-synth available for the educational market. This puzzled us, because there's no shortage of synth plug-ins out there, and this seems like a fairly glaring oversight.

So we did some market research, and discovered he was right. All the available options are either slavish recreations of classic synths, with all the foibles and strange UI decisions intact, or modern behemoths with every feature under the sun. We decided to tackle the challenge of an inexpensive, simple 3-osc mono-synth that followed the classic subtractive style, and Basic is the result.

While it is designed with ease-of-use, low cost, and simplicity in mind, the panel sits in front of a powerful modern synthesizer engine with an aggressive tone and self-resonating filters that scream when pushed. We're sure every electronic musician will find a place in the mix for Basic.

There are subtle plug-ins you put on the two-buss to give a nice gentle vibe to a track. Bitcom is not one of those. There is no "analog modeling" in this effect. There is no warmth or tube saturation. It is utterly devoid of anything to which the word "vintage" can be applied. Bitcom is a modern bit-shredding digital banshee that beggars description and lives on the edge of instability.

In a nutshell, a step sequencer drives a custom-designed bitcrusher, with a synth sidechain. But that sentence doesn't begin to describe the abuse that Bitcom is capable of. We pulled out every trick in the book to build a modern electronic music effect that can turn even the most sedate input in to a swinging, screaming pain-monkey, wreaking havoc on lesser sounds.

Bitcom requires OS X Intel 10.6.0 or later, or Windows XP SP 2 or later; the installers include both 32- and 64-bit versions.
Bit Banging: Bitcom's bit engine is unique; each step has eight switches that (to simplify matters greatly) turn individual bits on and off. So all 8 switches on, and the output is pretty much like the input. Start turning them off and Strange Things Happen.

Synth Signal: Bitcom includes a simple monophonic synth that can either be always on, envelope driven, or controlled via MIDI. This is mixed with the input signal to create strange new sounds. Alternatively, Bitcom can be used without any input at all, as a moderately capable synth.

Sequencer: Bitcom's step sequencer syncs to the host DAW. The sequence can be of arbitrary length from 1 to 16 steps, and the sequencer has internal swing.

http://www.audiodamage.com/