Free Harmonic Generator Vst

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It’s been a while since I surveyed the market for free software synths, so I thought I’d give it go and see what’s new and what has stood the test of time. Some of these instruments were released as prototypes or were the early experiments of developers just entering the market.

Free stuff is not always actually free. Often you will follow a link only to find out that it’s a free “demo”. Aren’t all demos supposed to be free?? In other cases, free software is dangled like a carrot in order to get your email address or to entice you into buying other products, preset libraries, add-ons, etc.

Well, business is business, and I suppose everyone needs to make a buck. I really don’t mind spending a few dollars for some shareware now and again to support a budding developer. But it behooves even the most experienced consumer to proceed with caution when the word free is thrown around.

What follows are some awesome sounding instruments in no particular order that are indeed free with very few strings attached. And if you can stomach a little extra spam, some of these may prove valuable additions to your stockpile of synths.

1. TyrellN6 by u-he

Virtual analog with classic architecture, plus extras.
Two oscillators, noise, ring modulator.
Two LFOs with eight waveforms that are host-syncable.
Audio source mixer with authentic overdrive and filter feedback.
Twin filter related to Diva (early model).
Unison with up to eight voices.
Analog-type ADSR envelopes, loopable or LFO-triggered.
Small modulation matrix with depth modulation from a second source.
Chorus effect with three modes.
MIDI learn / unlearn for hardware control.
Resizable UI from 70% to 200%.
Skinnable UI.
Over 580 factory presets.

This thing is responsive as hell and sounds sweet! I love the stained and grungy aesthetic of the interface. It’s really hard to believe it’s free. But it serves its purpose I suppose because it truly whets the appetite for more stuff from u-he.

2. Dexed

Dexed is an emulation of the classic FM synth: Yamaha DX7.

From the Github page:

“Dexed is a multi-platform, multi-format plugin synth that is closely modeled on the Yamaha DX7. Dexed is also a midi cartridge librarian/manager for the DX7. download serif drawplus for mac Do not expect this to be a perfect clone of a DX7 since this will take years in the open source world and multiple collaborators before getting there … Since Dexed is modeled on the DX7, the Yamaha DX7 Operating Manual can be used as a reference documentation.”

The interface is a little cluttered and is more functional than it is aesthetically pleasing, but there are a ton of sonic possibilities with this for those willing to dig in.

3. MiniSpillage

“MiniSpillage is a free professional quality drum synthesizer plugin featuring high-resolution 64-bit DSP processing.
MiniSpillage includes three exclusive drum synthesis algorithms along with distortion effects and resonant filters.”

Bass Drum – Single oscillator bass drum synth with pitch sweep, internal FM and harmonic controls.
Wood Drum – Flexible wooden drum model synthesizes natural and synthetic timbres from log drums to toms.
Hi-Hat – Six oscillators closed and open hi-hat generator with a noise source and dual resonant filters.

This is a great free option for those that want to create their own drum sounds with modulation, filtering and distortion effects.

4. Crystal Synth by Green Oak

This is one is a bit frustrating and takes a while to get anything remotely usable. The interface is on the clunky side. But a little patience can be rewarding.

5. Lokomotiv

Lokomotiv is an analog retro synthesizer that is impressive from the first launch. Its austere interface is surprisingly responsive and sounds immediately great.

Oscillator:

Mathematically generated high definition Oscillator without using wavetable or interpolation.
Silky smooth 9X detuned sawtooth wave.
Pulse wave with self PWM.
Shape morphing sub-oscillator.

Filter:

MG ladder modeling multimode filter featuring Zero Delay Feedback technology.
Routable filter Drive (Pre/Post).

Modulator: /vst-plugin-device-usb.html.

Natural Curved ADSR Envelope generator.
One-shot LFO which can be used as envelope.

Specification:

1X OSC (Saw+ Pulse) + One Sub OSC, Noise Generator.
1X multimode Filter with Drive.
1X LFO, 1X Envelope Generator.
Eight polyphonic voices, Mono and Legato mode supported.
64 Factory presets included.
Native 64-bit, Mac and Windows OS supported.

6. Digits from Extent of the Jam

This one sports a subdued color palette with beefy growls, preset chords and brass sounds. A bit of crackling when parameters are modified, but worth the time to download for sure.

7. Spitfire Audio – LABS

Not long ago, Spitfire Audio released an ongoing series of completely free instruments called LABS. These are very, very simple sampled instruments with just a handful of controls and they sound really, really good. So far the collection includes:

Charango
Electric Piano
Amplified Electric Cello Quartet
Drums
Strings
Soft Piano

If you’ve used any of the Spitfire Sample Libraries before, you know how well they’re recorded, and these instruments are no exception. While you won’t get the flexibility or deep sampled variety of a full-scale library, you will get a great sound that can be slightly varied to taste. While these are sampled instruments as opposed to synths, they’re free and so good that I felt they warranted inclusion.

8. TAL NoiseMaker

This is one my of favorite choices. The interface is accessible, clean and to the point and thick, beefy sounds are possible from the get-go. Really nice!

From the developer: “TAL NoiseMaker is an improved version of TAL-Elek7ro and has a completely new synth engine and a lot of improvements in sound and usability. The synth also includes a small effect section with a reverb, chorus and a simple bit crusher effect. A display shows the knob and slider values. This allows more control over the synth. A ring modulator and a syncable triangle are also part of this synth.”

TAL NoiseMaker includes new filter types and the self-resonating 6 dB low pass and notch filter. Its improved amplitude ADSR is very suitable for slow pads and for really fast envelopes. 128 factory presets included, 80 made by Frank “Xenox” Neumann.

Features:

Three Oscillators. Osc 1, +/- 24 semitones, fine tune, phase control (saw, pulse, noise). Osc 2, +/- 24 semitones, fine tune, phase control (saw, rectangle, triangle, sine). Sub Osc (rectangle).
Osc 1 PM for pulse waveform.
Osc 2 FM controlled by Osc 1.
Osc 1 & Osc 2 sync to sub osc (saw, pulse, rectangle, triangle (bipolar sync)).
Adjustable master tune and transpose.
Up to six voices.
Portamento in mono and poly mode (off, auto, on).
Ringmod modulates Osc 1 with Osc 2.
Self resonating 4x oversampled filters (24 dB LP, 18 dB LP, 12 dB LP, 6 dB LP, 12 dB HP, 12 dB BP, Notch).
Filter ADSR (negative and positive).
Volume ADSR
Routable ADSR, modulates Filter, Osc 1, Osc 2, PW, FM (negative and positive)
Two LFO’s with different running modes: free, sync to host, triggered by note. Modulates filter, Osc 1, Osc 2, FM, PW, LFO rate, Panorama and Volume. Sine, Triangle, Saw Square, S&H, Noise. Positive and Negative modulation. Phase control.
Adjustable Velocity-dependent control over volume filter contour and cutoff.
Adjustable Pitch Wheel control over Cutoff and Pitch.
One pole HP filter.
Detune, detunes notes randomly.
Juno chorus with different modes.
A built-in reverb and delay.
Adjustable filter drive.
Bitcrusher affects Osc 1 and Osc 2. It’s a pre-filter stage effect.
MIDI Learn for all knobs.
Panic button.
Easy to use, no hidden panels.
256 great presets (Presets by Frank “Xenox” Neumann, The Unshushable Coktor, Alexandra Sendy, TAL, Patrick Kunz).

9. Thump by Metric Halo

Thump is a unique audio processor that allows you to synthesize low-frequency audio to add low end to a track or generate another sound entirely. Thump looks at the pitch and dynamics of its audio input and uses this information to control its oscillators. You can add low end to drums, augment a bass or even create synthetic drones.

Thump is ideal for beefing up a kick drum, adding low end to percussive tracks, recreating classic drum synth sounds and more. You can use Thump’s envelope driven, percussive sub-harmonic synth for the following things (among others):

Build low-octave support for bass drum, tom, snare and other percussive tracks.
Create kettle drum sounds from regular drum tracks.
Recreate the sounds of classic drum synths like the TR-808.

The effect of Thump is similar to generating a sine wave or other waveform on a gated track that is side-chained to a transient on another track such as a kick. But Thump allows more control, two oscillators that can be changed on the fly and more pitch specific envelope control. If you like kicks that are thick as hell and challenge the range of human hearing, you will like Thump a lot.

NOTE: the instrument requires a transient input to be activated so you would use it like an insert rather than a standalone synth.

10. Synth 1 by Daichi Laboratory

While the interface is a bit nasty and pixelated, Synth 1 by Ichiro Toda is modeled after the Nord Lead 2 Red Synth and sounds decent. It doesn’t take long to get a few usable sounds and the onboard arpeggiator is great for experimenting. (Manual)

11. PG-8X by Martin Lüder

“The PG-8X is a virtual synthesizer, inspired by the Roland JX-8P with the PG-800 programmer. The synth architecture is a standard 2-oscillator -> Filter -> VCA design. These elements can be modulated by a common LFO and one of two envelopes. The PG-8X is patch compatible with the JX-8P and can read and write JX-8P Sysex data”. (Manual)

Conclusion

While these instruments may not be the best things in life — they are free. And it has been my experience that there is something to be learned from every piece of software, as there is from all types of music. Experimentation and exploration yield untold rewards for the adventurous, and freeware is a great place to start your journey or a means to unshackle yourself, at least temporarily, from the financial constraints that plague us all. Best free synthesizer vst 80s retro 2016.

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So far in this series, I’ve covered some of my favorite and most used compressor, limiter and equalizer plugins — three types of processing vital to any mastering engineer.

It’s important not to forget about other processors that can add harmonic content to your material. You might hear them referred to as exciters, enhancers, saturators, maximizers etc. — regardless of the name, these plugins can be great for adding tone, vibe, impact, and character to your masters.

1. UAD Ampex ATR-102 and Studer A800

These are emulations of the classic tape machines, and while they are two separate and very different plugins, I find them both to be essential — and wanted to make room for the many other great processors — so they occupy the top spot.

They’re great for both mixing and mastering, and can be used on individual tracks or entire mixes. For a majority of the time we’ve been listening to recorded music, tape has been involved, and these two plugins help achieve that famous sound.

The ATR-102 features 4 different tape types, 4 tape speeds, and dozens of other features that make this an incredibly deep tool for adding color and tone to your material. I find that it helps add a sense of clarity and separation between instruments in a way that no other plugin does. It’s definitely a hi-fi sound, but the brightness can be dialed back by changing the tape speed or using the shelf EQ.

The Studer A800 is a bit more warm and vibrant. I find myself using this one on individual tracks or sub-auxes more than the ATR-102, but when material needs to sound more rolled off, saturated, and vintage, the Studer is unmatched.

Unique features: The sheer depth of these two plugins makes for a virtually endless amount of sonic capabilities. The Studer is simpler, and I find myself tweaking the bias setting to achieve a very open, airy sound. The ATR-102 has really unique tape effects like wow, flutter and crosstalk. While you may understandably hesitate to use these on a master, in the rare case when you absolutely need your material to have a subtly warped, analog feel, look no further.

2. SPL Vitalizer MK2-T

The Vitalizer MK2-T is a tried and true hardware unit that is common in mastering, and the plugin does a similarly great job of adding air and presence to your material. There are also useful compression and drive controls. If your source lacks excitement and definition, the Vitalizer is a quick fix thanks to it’s intuitive interface.

Unique feature: The stereo expander on the Vitalizer is as good as on any plugin I’ve found. If I want to widen the stereo field in mastering, this is the tool I reach for.

3. Sonnox Oxford Inflator

When you need to add impact and modern size to your material, look no further than the Inflator. It adds a tasteful curve, even when it’s pushed pretty hard. Although it can make virtually any source sound and feel more exciting, it really excels with electronic music.

Unique feature: Aside from Input and Output controls, it has “effect” and “curve” faders. That’s it. What I find to be most unique about the Inflator is its ability to enhance program material, even with such limited controls. There are very few plugins that are essentially “sound better” faders/knobs, and this is definitely one of them.

4. iZotope Ozone 7 Exciter and Vintage Tape

The Exciter alone has warm, retro, tape, tube, triode, and dual triode modes. More impressively, it’s a multiband exciter, in case you want to add any of these characteristics to specific frequency ranges. The vintage tape plugin is yet another iZotope plugin with flexible digital-style controls, but a warm analog sound.

Unique feature: Not only does the exciter work in mid-side mode, the exciting can also be added in parallel, per frequency range. The gain match feature on both plugins can help you determine if the changes you’re making are actually enhancing the material, or just increasing volume.

5. PSP Vintage Warmer 2

The Vintage Warmer is also a compressor/limiter in addition to being a great tool for adding tasteful saturation to material.

While there are many controls, everything is laid out in such a way that’s easy to understand. Both the sound and metering are excellent. This one can go from adding tasteful saturation to expressive gnarly tones, which can also make it a valuable mix tool.

Unique feature: Being able to choose the frequency at which you want to add drive (at both high and low frequencies) can really help when only a certain frequency range needs saturation and excitement.

6. UAD Brainworx bx_masterdesk

The bx_masterdesk is a simple, all-in-one solution for those in need of an in-the-box mastering processor. The GUI resembles an analog mastering console, and allows one to work quickly and efficiently. Sonically, the plugin is equally impressive; between the four compressor options (which can be blended in parallel), the incredibly smooth 4-band EQ section, the helpful resonance filters, and the unique “foundation” control, one can quickly add energy and sculpt the tone of their program material. The bx_masterdesk doesn’t stop there, though, and is loaded with a variety of additional features including a high-quality de-esser, the acclaimed brainworx M/S features including Mono-Maker and Stereo Enhance, and a THD control for adding tasteful saturation to your masters. The harder you drive the volume control, the harder the processing stages are hit, so the bx_masterdesk truly does behave like an analog console.

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The metering, functionality and sound quality are all of the excellent quality one would expect from Brainworx and UAD. For anyone looking for an uncomplicated, versatile, juicy-sounding in-the-box mastering processor, I strongly recommend giving the bx_masterdesk a test drive.

Mastering Tip:

While bx_masterdesk was designed for the purpose of mastering entire mixes, don’t shy away from using them on groups like drum or vocal buss. I had great success recently using it on a backup vocal subgroup. What’s great about it is that there are so many high-quality processors located in a singular easy-to-use plugin. I used the equalizer section to carve out the low end, the de-esser to handle sibilance, the THD to add some pleasing grit and color, and the stereo enhance function to add some subtle width. It’s not abnormal for me to process backup vocals this way using a variety of tools, and I love the convenience of being able to handle everything within one plugin.

Introducing the UAD bx_masterdesk plug-in by Brainworx

So far in this series, I’ve covered some of my favorite and most used compressor, limiter and equalizer plugins — three types of processing vital to any mastering engineer. It’s important not to forget about other processors that can add harmonic content to your material. You might hear them referre

7. iZotope Ozone 9 Exciter

iZotope’s latest update to their all-in-one mastering plugin suite includes several new modules that make in-the-box mastering even more intuitive and effective including Master Re-balance and Low-End Focus. Updated in this top-notch multiband exciter module include tweaks to the analog-modeled Retro, Tape, Warm and Tube modes. I really enjoy the flexibility of multiband processing and the fact that you can choose different saturation modes for each band, so if you want to add some analog tape vibe in the low end, and tube warmth in the upper mids, you are quickly able to do so, and with great precision and control over the frequency crossover points.

You can use the exciter in mid/side mode, which I often do when mastering. Additionally, you can ‘solo’ the individual bands, so you can hear exactly what the processor is imparting onto the signal, and I find this feature quite helpful when dialing in exactly how much I processing I should be doing. Ozone 9 is, of course, marketed as a tool for mastering, but I’ll regularly fire it up when at the mix stage, and even use it on individual elements such as snare drum, bass guitar, and vocals, in part because of the tonal shaping qualities of the exciter.

Mastering Tip:

Learn how the ‘amount’ and ‘mix’ controls interact and affect the signal: ‘Amount’ functions similar to a gain control — the higher the amount, the more drastic saturation will be achieved. ‘Mix’ functions as a wet/dry blend. I tend to use the exciter very subtly when mastering, and in the event I’m using higher ‘amount’ values, I’ll definitely dial back the overall effect using the ‘mix’ slider. Additionally, make sure to pay attention to the order in which you use the models in Ozone 9. I ensure that the maximizer (which functions as a limiter) is the last module in the chain, as I don’t want any gain to be added with the exciter (or any other module) after the limiter ceiling has been set.

What’s New in Ozone 9 iZotope Ozone Mastering Software

8. UAD Vertigo VSM-3

The VSM-3, developed by Brainworx and Universal Audio is an emulation of an esoteric (and pricey) rack-mountable saturation unit from German company, Vertigo Sound. It’s a two-stage harmonic generator with mid-side capabilities. You’ve got extensive control over 2nd and 3rd order harmonics sections, each of which have their own unique sonic qualities, and each can go from tastefully subtle, to blistering and brash. The THD Mixer section allows one the ability to blend between the two stages, and you can choose between using them in series or parallel. Within each of the sections, you can target specific frequency ranges, so if you want to add a bit of warm saturation to the bass, and some crunch higher up in the frequency spectrum, let’s say on electric guitars, it’s fairly easy to dial in. In that case, I’d use the 2nd Harmonic FET crusher to add drive to the lows (bass), and the 3rd Harmonic Zener Blender and target the high mids. 2nd order harmonics are more tame and subtle in nature, whereas 3rd order have more ‘bite’, so this would be a useful application of the VSM-3.

There are so many unique tones available within this plugin–it’s a sort of saturator, equalizer, compressor all-in-one. It works great on individual tracks, sub-busses, or at the mastering stage, allowing you to bring attitude and vibe to dull, and lifeless mixes. If you have limited experience using saturation at the mastering stage, I do recommend avoid getting too heavy-handed with the VSM-3, as I mentioned, it can go from an exquisite polish to absolutely destroying transients unless you’re careful.

Free Harmonic Generator Vst Generator

Mastering Tip:

Use it for Mid/Side Saturation: When mastering, I use saturation to enhance vibrancy and improve relationships between components of the mix. On a recent rock master, the sides featured crunchy, hard-panned electric guitars, and the vocal (which sat up the middle) was a bit lacking in character. I enlisted the VSM-3, adding a bit of brightness and via the 3rd Harmonic Generator, only focusing on the mid, disregarding the sides. Mid/Side processing can be extremely useful when mastering, and this unique saturator is no exception.

Honorable Mention

Although somewhat limited due to only being compatible with Pro Tools, the original Phoenix and its successor helped engineers add analog tape saturation and vibe to material long before most competitors. Simply put, it’s to this day, a great sounding plugin.

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