Ocean Swift's Wave Editor – Offers studio-grade processing without bloat and unnecessary features.
The processing is Ocean Swift's own DSP, the same code that runs in DevOcean Modular and the Sound Creator Suite. Tone shaping, dynamics, character and repair, alongside the everyday work of gain, fades, phase, silence and format conversion. It is a growing library, and it grows from a platform that has been under development for years.
Every effect can be applied to one channel or both. Loop points can be found automatically, snapped to zero crossings, and crossfaded so they stop clicking. Files carry their RIFF metadata and NKS tags intact.
"Space Age Strings, Traveler 1.1, Arturia MiniFreak V, and Liminal Space 2 RC6: three plugins I'm excited about, and one that's... fine. Your old pal Keith demos vintage strings, custom wavetable import, Bloom and reverse reverb, and gloriously backward shoegaze. Grab your mod wheel for another episode of your favorite talky synthesizer content show!
First up: Authentic Soundware's Space Age Strings, with gorgeous legatos, vintage ribbon-mic character, and serious Mancini energy. We pair those nine violins with Liminal Space 2's new Space Age Scoring Stage preset and compare the library's built-in reverb with some algorithmic spaciousness.
Then we revisit Traveler! Version 1.1 fixes the big wavetable-workflow frustrations from my previous review: now I can point it at my existing KRC Mathwaves folders without duplicating gigabytes of content. Cue polygonal bells, Morlet wavelet vowels, and a much happier Keith. We also try MiniFreak V's new user-wavetable import. It's great to have it, but I've got opinions about the workflow, the effects, and whether the software version floats my boat.
Finally, we explore my Liminal Space 2 RC6 reverb for macOS and Windows: MIDIverb II-inspired Bloom sounds, reverse-style swells, ACTUAL reversed audio, and instant imaginary Cocteau Twins guitar with Native Instruments' Electric Sunburst Deluxe. We build Bloom effects on piano, shape them with curves and wavetables, and explore Reverse Capture's Diffuse and Clear modes. Then we get dark and wobbly with Clockwarp and the new Vulture 224 filter, inspired by Alex at Vulture Culture. Woot!
Disclosure: Authentic Soundware kindly supplied Space Age Strings; this is not paid placement. I purchased Traveler myself. Liminal Space 2 and KRC Mathwaves are my own products. Liminal Space 2 is demonstrated in RC6; the RC7 Follow feature is teased for a future video."
You can find wavetables and additional resources by Keith Crosley available at https://www.wavetables.lol.
"Traveler 1.1.0 expands your sound-design options with a new wavetable browser, graphical envelope editing, deeper modulation, and improved DAW compatibility.
For more information on Traveler or to download the 14 day demo visit:
This collection provides a diverse range of sounds, from evolving pads and atmospheric effects to lush synth textures, perfect for ambient, cinematic, and electronic music production.
Whether you're looking to create ambient soundscapes, dynamic pads, or futuristic sound design, this set delivers sounds that inspire creativity.
Key Features:
62 custom-designed presets for Arturia Pigments
Ideal for genres such as ambient, soundtrack, experimental, and electronica.
Preset Categories:
Evolving Pads: Smooth and evolving textures that add depth and movement
Soundtrack: Dramatic, atmospheric sounds perfect for film scoring and sound design
Ambient SFX: Creative sound effects that enhance your compositions with subtle details
Atmospheres: Ethereal and expansive sounds to fill your sonic space
"I always lusted after a Technos Acxel from 1984, but they didn't really exist. There were only about 4 ever made and those barely made it into public view. But there were pictures of them, and I had my imagination.
So, 30 years later, I made it myself, and then I made it better.
Every partial, hand-drawn.
Modeled after the Technos Acxel — a Quebec-built additive synthesizer from 1986-1992, with somewhere between 30 and 40 units ever made. Two engine slots share one wave bank, one Grapher, and one mod bus: Slot A is the Acxel's additive and sinusoidal resynthesis engine, Slot B is a wavetable machine, and you can run either or both at once.
AXCEL plugin GUI
- Acxel-accurate additive engine: up to 32 partials per voice, each independently addressable on the Grapher for amplitude, phase, and detune
"The bassline from @nineinchnails The Becoming has always haunted me. Originally done on a borrowed 'OberMoog' prototype [matrix note: see prior posts here], the original synth underwent massive engineering changes, management, and versioning until it finally became the OB-Mx, which was a "better" synth, but didn't quite sound the same. I know this, because I owned an OB-Mx.
Anyways, our Ober-Moog VST gets pretty close, and goes beyond. Plus, it's got 500+ presets, an EZ button for randomization, and Hand Of God for impossible automated modulation. Available now at store.denversynth.com
How close does this get?
I guess only TR can say for sure.
The synth that wasn't.
A 1:1 recreation of the Oberheim OB-Mx panel, voiced as the ‘Ober-Moog’ — the pre-production prototype Trent Reznor borrowed from Richard Bugg and used for the bassline of Nine Inch Nails’ The Becoming. Never officially released, barely documented, and rebuilt here from every source that exists, contested claims included.
- Full OB-Mx architecture: dual VCO per voice, MM-VCF and SEM-VCF in series or parallel, four-stage envelopes with free-run and repeat
- Voiced specifically as the Ober-Moog prototype, not a stock OB-Mx — the one unit with its own name, its own history, and no official spec sheet
- Unison/spread/detune matching the OB-Mx's card-based voice architecture, mono or up to full polyphony
- Modulation matrix covering breath, pressure, velocity, note number, wheel, and pedal across twelve assignable destinations
- Built from every documented source on the instrument, with the honest gaps left as gaps rather than guessed at
EZ button gets you into a usable patch in seconds; the panel underneath goes as deep as the original hardware did
Zero-input mixer. DIY noise artist's playground.
A digital no-input mixer: four channels, two effect returns that are full mixer channels in their own right, db-cell running as the board's own noise floor, and a live patch bay — everything you hear starts as the board's own hiss going round a feedback loop until it finds a mode. CASCADE feeds each channel into the next, wrapping channel four back to channel one; CHEAP/SOLID decides how hard the shared power rail sags and lets every channel modulate every other one through it.
ZEROBOY plugin GUI
Four mixer channels, each with seven selectable circuit topologies and Mackie-style 3-band EQ, plus a CASCADE that feeds straight into the next channel — channel four wraps back to channel one
Reverb and delay aren't send effects — they're two more full mixer channels with their own gain, EQ, and aux sends, already wired into a two-node feedback loop with each other
"INFIDEL shown here put through its paces.
This is an intentionally non-musical demo to show the power and sound of INFIDEL. It gets loud. If you don't like it, good.
The point is, you've never heard a VST sound like this, ever.
What we make hasn't existed before.
So, stop chasing other people's sound, and make something that's your very own for a change.
With roughly 1/3rd of the available modules shown here, you can tweak until morning.
Just make sure you get some sleep sometimes!
"INFIDEL is a full modular synth built around one idea: every module runs its own cheap sign-magnitude DAC, at its own sample rate and bit depth, so the whole rack can sound exactly as broken as you want it to — on purpose. You don't have to earn that sound with a soldering iron or a twenty-minute boot sequence. Hit INIT FULL and you've got a working 47-module, 81-cable patch across four buses — lead, drone, texture, drums — before you've turned a single knob. Hit EZ on any module and it rolls a new setting that's checked to never go silent. Cables snap to the nearest free jack, drop onto an existing cable to insert a module inline, or swap one module for another while keeping every cable that matches by name. It's fast to get a sound out of, and it stays deep — a 53-module library and KEY-locked lo-fi clocking mean there's always one more place to take it.
- 53 user modules across Sources, Filters, Effects, Drums, Utilities and Logic — including an 8-model VCF BANK (CS-80, IR3109, SSM2044, CEM3320, SSM2040, STEINER, EMS DIODE, WASP) and effects ported from SpringBoy, BucketBoy, Thermion and Ironwall
- Every module runs its own cheap lo-fi DAC — RATE 1–32 kHz, BITS 2–16 — and KEY locks a module's clock to the last note played, so the grit tracks pitch instead of just buzzing underneath it
"This distorted acid lead is not a sample: Profligacy emulates the Korg Prophecy, the synth behind that Prodigy sound.I tested the plugin by Joe Landers in Ableton Live. CPU usage stays at just 5–8%.In this video: The Prodigy-style sounds, the automation behind them, and more presets.
🎹 What you'll get in this video:
• Profligacy: a free, open-source Korg Prophecy emulator
• CPU test in Ableton Live: 5–8% usage
• Prodigy-style acid leads and their automation
• More presets demos
• Honest limits: ROM required, alpha status, monophonic
⚠️ What you need to know:
• You need your own ROM of the original firmware. It is not included, and I don't provide or link it.
• The plugin is an early alpha version, so bugs are possible.
"My free Roland D-50 Editor Librarian is a browser-based Web MIDI tool for backing up, browsing, importing and editing D-50 sounds without sending your patch data to the cloud.
In this video I show the full workflow from the YouTube transcript: connecting the D-50 over MIDI, enabling SysEx, reading the current edit buffer, opening a patch library, sending sounds to the synth, receiving a full bulk dump from the D-50, saving a library backup, importing SysEx banks, and editing classic D-50 patches such as Fantasia. The editor also makes it easier to work with the D-50's upper and lower tones, partials, PCM and synthesis structures, ring modulation, filter and amp envelopes, reverb, tuning and patch management.
The aim is to give the Roland D-50 a modern librarian/editor workflow: build a large library of card sounds and custom patches, search for sounds quickly, send patches to the edit buffer when recording, and avoid constantly swapping cards or managing small internal banks by hand.
NerDie is an 8-bit noise synthesizer and sequencer. Four oscillators, four LFOs, a summing tree with eight algorithms, a resonant low-pass filter and a one-bar sequencer. The whole engine runs in whole numbers at a fixed chip rate, so the overflow, the wrap and the quantisation you hear are not effects added at the end: they are the signal itself.
It runs as a plugin on Mac and Windows, and as an app on iPad and iPhone. Presets (.ner files) are the same on both, so a patch saved on the iPad opens in the plugin, and the other way round.
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GET IT
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15-DAY FREE DEMO. The demo is the full plugin: every feature works, nothing is switched off. Use it for 15 days and buy it only if you keep it. One license activates it on 2 computers."
Utterly Terrifying Choir - WALKTHROUGH video upload by CROW HILL
Press release follows:
The Crow Hill Company announces availability of CHILDREN’S CHOIR, crafting terrifying sounds from school-age children to deliver broad spectrum of timbral possibilities
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of CHILDREN’S CHOIR — crafting terrifying sounds from a school-age troupe of boys singing with just the right amount of ‘beautiful menace’ and an ability to be creative while working with the Edinburgh-based enterprise in support of delivering an instrument based around an expertly curated sample-set with a broad range of timbral possibilities designed by media composers with other media composers in mind — as of September 21…
Asked about the task of crafting CHILDREN’S CHOIR, The Crow Hill Company co-founder and media composer Christian Henson has his tongue not entirely out of his creative cheek in response, resurrecting the famous showbiz warning usually credited to American comedian W.C. Fields, effectively, by way of opening: “Never work with animals and children! So what’s this going to be like? Getting kids to be slightly demonic, evil, scary… they love it! And they totally seem to get making it so pretty that it’s scary. So we thought we’d try and nurture that spirit in a children’s choir library designed particularly for media composers — people who write for film, TV, and computer games. Why are these guys going to be wanting to use a children’s choir? Maybe there’s something set in a boarding school, maybe there’s something slightly choral and religious, but, more times than not, something unsettling is needed, and that’s where we’ve gone with this one. There are limits to how long children should be asked to perform. So, we thought we’d use the time thoughtfully, curating a selection of singing styles that capture this spirit. As opposed to giving you yet another library with ‘AAs’, ‘EEs’, ‘Ahs’, ‘Ohs’, and ‘MMs’, etcetera, AHOH, OHEH [and many more singing styles are available using the EXPRESSION wheel]. There’s some lovely WAVERING stuff where the pitch centres change. They sound great and scary when you cluster up, but on their own — or just a couple of notes — they have all sorts of childlike menace. There’s terrifying RISES and FALLS. And we’ve got a whole bunch of SHORT [singing styles].
"Premiers devs avec le DSP MAISON pour The River 2. UN peu de too much pour appréhender la puissance de cette carte.
96K 32 Bits, tous les calculs en float. Elle sonne non ?"
