CV-2SEQ v2.0 VSTi x86 WiN

Team NEMESiS | 14/06/2006 | 325.43 MB

Constructed by professional synthesizer VST creators, AMVST has published CV-2SEQ Version 2 VSTi Synthesizer. It is compatible with all major sequencing programs that support VST plugins including FLStudio and Cubase.

GS-201 Tape Echo v1.2.0 VST WiN

R2R KGN | 15/10/2008 | 5 MB

Tape echo effects were invented towards the end of the fifties. Presumably the very first tape echo machine was invented by Charlie Watkins of London, England, in 1958. It was based on a small loop of 1/4 tape onto hich audio was recorded by a magnetic head and then read by three separated heads. What was read from the tape was amplified by the internal all-valve circuit and eventually recorded back to the tape, creating the eedback or sustaining echo effect. The delay time of the unit was determined by distance of the write head from the read heads, in conjunction with the sd of the tape.

GSi MrRay73 Mark II v2.0.3 VSTi WiN

TEAM NEMESiS | 6 October 2011 | 10.4 MB

MrRay73 Mark II is a digital simulation of the famous american electro-mechanical piano of the seventies, invented during World War II by a music teacher, Harold B. Rhodes (1910 – 2000), and widely used in almost all musical genres ranging from soul/black music to jazz, blues, modern and pop. This instrument has rapidly become a legend, and is still used today, altough samples have replaced the real thing so that very often music producers use huge sample libraries or hardware keyboards / workstations to achieve this kind of sonority, and often the result is a cold and ‘dead’ sound, with no vitality, no warmth, nothing that even compares to the unpredictability and genuineness of the real thing.

sideGATE MK I v1.0 VST WiN

Team NEMESiS | 24/06/2008 | 1.69 MB

sideGATE : lookahead flexigate with virtual sidechain input

Mono || Stereo || Dual Mono || ‘just-in-time’ mode

Voice Production : Use sideGATE as a lookahead noise-gate when for example, you have a presenter speaking against background noise. Normal gating would result in a bump in background noise as the presenter speaks and the gate opens, but with sideGATE’s lookahead feature, the background noise can be gently faded in before the presenter speaks creating a smoother, less objectionable sound. Music Production : When the sidechain is higher than the threshhold, the channel is audible, when lower, gated – just the sort of functionality needed to gate a reverb according to the level of a snare drum, a synth according to a hi-hat, a bass according to a bass drum and so on. sideGATE can also be used to alter the attack of a sound (soften a solo electric guitar making it feel like a lap steel) and its panned outputs can be used to create a situation where the position of a sound in the stereo field is switched according to its volume.

SpinAudio Roomverb M2 v2.3 WiN

Team NEMESiS | 10/03/2006 | 2.16 MB

RoomVerb M2 is based on Virtual Room Acoustic modeling technique that allows to simulate various acoustic spaces from small bath rooms to huge open spaces using a single set of parameters. Such an approach provides a unified way of controlling reverb and removes the limits inherited in traditional reverb design schemes based on either pre-defined algorithms or pre-calculated room response patterns. The plugin processing DSP core has a flexible modular design that supports dynamic host CPU loading. This means that if you don’t need a certain reverb function you can switch it off, reducing the CPU load.

BaddASS MK v1.0 VST WiN-NEMESiS

TEAM NEMESiS | 24/06/2008 | 1.81 MB

4 waveshapes || gating || distortion || bit-crusher || E.Q. || MIDI Triggering

baddASS : Bass drum fortification device

baddASS is designed for sorting out weak bass drums. It can be used to gate the incoming bass drum and reduce spillage, but thats just the start. From storming bottom end to (even more) evil cutting distortion, baddASS’s drive, crush and EQ sections give you plenty of scope for re-inventing your kick. Add click for more attack, and re-inforce sub-bass content with pure waves, Parameters for badd, ass, and mix allow full control over the original bass drum, low-end reinforcement, and distorted nastiness – without using any compression.