All Plugins

The MOD 2Voices is a pitch-shifter featuring two outputs with independent pitch-shift controls. The pitch of the input signal can be shifted anywhere between -12 semitones down, and +24 semitones up. Particularly relevant for low-CPU use cases.

Features: Modeled by MOD Devices

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

There's one plugin in this first release, a four-band parametric equaliser. Each section has an active/bypass switch, frequency, bandwidth and gain controls. There is also a global bypass switch and gain control. The 2nd order resonant filters are implemented using a Mitra-Regalia style lattice filter, which has the nice property of being stable even while parameters are being changed. All switches and controls are internally smoothed, so they can be used 'live' whithout any clicks or zipper noises. This should make this plugin a good candidate for use in systems that allow automation of plugin control ports, such as Ardour, or for stage use.

Features: Modeled by FOMP

The abGate is a simple and straight-forward noise gate plugin. It helps to reduce noise and prevent feedback, this is especially useful when using overdrive or distortion effects.

Features: Plugin by Antanas Bruzas

AIDA-X is an Amp Model Player, allowing it to load models of AI trained music gear, which you can then play through!

Its main intended use is to provide high fidelity simulations of amplifiers. However, it is also possible to run entire signal chains consisting of any combination of amp, cab, dist, drive, fuzz, boost and eq.

ALO is a multi-track looper designed for live audio looping. It works in sync mode, with Global BPM, or in free-running mode.

There are six loops. Press a loop button to:

• arm the loop for recording
• stop playing the loop
• resume the loop

[THRESHOLD] sets the input level in dB that will trigger loop recording.

[BARS] sets the loop length in sync mode (when Global BPM is running). In free running mode, loop length is set at the end of recording the first loop, by activating a different loop button.

[MIDI Base] optionally allows loops to be controlled from a connected MIDI device sending MIDI note on/off messages ([MIDI Base]..[MIDI Base + 5]).

[INSTANT LOOPS] changes the behaviour so some or all loops will stop and resume instantly:

• 0 sets all loops to play from start to finish
• 3 sets loops 1,2 and 3 to play and stop when their loop buttons are pressed
• 6 sets all loops to play and stop when loop buttons are pressed

[CLICK] sets the volume of the click in sync mode, when no loop is playing.

[MIX] sets the output dry/wet levels for the input and loop signals

• 0 for only input
• 50 for matched input and loop levels
• 100 for only loops

[RESET MODE] controls when loops are wiped:

• 0 wipe when ALO is turned off, bpm tempo changes, when bars changes
• 1 same as 0, and wipe when all loops are off
• 2 same as 0, and wipe when a button is double-pressed within one second
• 3 same as 2, but only the double-pressed loop is wiped

Loop6 behaves differently - it outputs the loop while replacing it with the input signal for next time. So if the output is looped back to the input, it works as an overdub. If the loopback goes via an effect, then the effect will be applied each time the loop passes through.

This plugin works by running a single write pointer (monotonic) and two read pointers (pitchscaled) over a ringbuffer.The output is faded between the two readpointers according to the sine of the distance from the write pointer. The design is based on the mechanism of a mechanical pitchshifter I saw in the Gemeentemuseum in Den Haag, though I'm sure it is a common enough algorithm.

Takes 2 stereo inputs and imposes the amplitude envelope of the first one on the second one. Also has a threshold level for the second input, so that when the signal falls below it, it is amplified up to the threshold, to give a greater signal to be amplitude modulated.

The AMS Env is a Control Voltage envelope module with added spice. It features extra parameters for hold and delay as well as a variable scale which scales the whole duration of the envelope.

Features: Ported from the AlsaModularSynth, a free and open-source project.

The AMS LFO2 module is a Control Voltage LFO which offers a variety of waveforms: sine, triangle, sawtooth up, sawtooth down, square and Sample & Hold. It also has an input that can be used to reset the phase of the LFO, and a control to set the phase-angle.

Features: Ported from the AlsaModularSynth, a free and open-source project.

The AMS VCA Exp module is an exponential Voltage Controlled Amplifier used for volume modulation. It allows you to, for instance, modulate the output of the AMS VCO3 using the control voltage signal of the AMS Env.

Features: Ported from the AlsaModularSynth, a free and open-source project.

The AMS VCA Lin module is a linear Voltage Controlled Amplifier used for volume modulation. It allows you to, for instance, modulate the output of the AMS VCO3 using the control voltage signal of the AMS Env.

Features: Ported from the AlsaModularSynth, a free and open-source project.

The AMS VCF module is a voltage controlled filter which offers a wide variety of filter types and flavours (multiple low-pass and band-pass flavours, as well as a high-pass and notch option). Additionally, it enables you to use other CV signals to modulate some of its features, such as frequency and resonance.

Features: Ported from the AlsaModularSynth, a free and open-source project.

The AMS VCO3 is an oscillator module which can generate multiple waveforms (sine, square, triangle, sawtooth). Additionally, it features CV inputs that can be used for frequency and pulse-width modulation, as well as a Sync input which allows for various types of oscillator sync sounds.

Features: Ported from the AlsaModularSynth, a free and open-source project.

The AmSynth is a synth with a classic subtractive synthesizer topology. It features Dual oscillators, a resonant filter, a dual ADSR and a LFO. If you’re not into turning a bunch of fancy knobs and just want to plug and play, give the presets of this synth a go, it has a broad variety of sounds including some classic synths and some funky noises!

Features: Modeled by Nick Dowell

This plugin simulates the output you get from an analogue synth's osciallators. You can get a reasonable emualtion of a 303's square (for exmaple) if you set the warmth to about 0.4 and the instability to about 0.05. The frequency is currently a control input, and there is no interpolation.

source: http://plugin.org.uk/ladspa-swh/docs/ladspa-swh.html#tth_sEc2.7

The MOD Arpeggiator is a classic arpeggiator with some added spice. The plugin is specifically designed for the MOD platform, with a focus on live usage.

Besides the standard arpeggiator controls, there is also a special control, called "Octave Mode". When set to "1 Up / Cycle", the plugin acts as the typical arpeggiator we all know and love. The other options provide more variations to extend the classic paradigm.

The plugin has multiple sync modes. In "Free Running" mode, it will use the internal tempo of the plugin, which is set by the BPM parameter. In "Host Sync" mode, it will use the host tempo. When "Quantized Start" is selected, it will use the host-tempo, and make sure that all notes are quantized. This allows the plugin and the notes that it sends to be perfectly in sync with other plugins and devices.

Features: Plugin by MOD Devices

Attenuverter Booster multiplies the CV signal by any given value between -10 and +10. The plugin can also be used to set an offset to the incomming signal.

Features: Plugin by MOD Devices

An audio bridge plugin that allows using external audio interfaces as part of the processing chain. This is the "capture" side, it receives input from an audio interface and exposes it to the host.

Currently limited to 2 audio ports and a single device, which is automatically connected once available.

This is a simple audio file player plugin.

Just upload some files in the MOD file manager section (either loops, recordings or tracks) and load up the plugin. Transport is rolling as long as the plugin is enabled and a file is selected. You can also sync to host transport, which will play in frame-perfect sync, useful if you need a few loops playing together.

Files are streamed from disk if longer than 30 seconds in length, otherwise loaded entirely on RAM.

Even though this player plugin can loop files, it is not an audio looper. Audio can loop back to the beginning if enabled, but it does not resample or pitch-shift to fit the host BPM. The audio files are played back as-is, with resampling only done when needed to match the host sample rate.

A simple click-free audio gain plugin, where the gain parameter is a multiplication factor rather than attenuator/booster of dB. This is the Mono version.

A simple click-free audio gain plugin, where the gain parameter is a multiplication factor rather than attenuator/booster of dB. This is the Stereo version.

An audio bridge plugin that allows using external audio interfaces as part of the processing chain. This is the "playback" side, it sends the output from the host into an audio interface.

Currently limited to 2 audio ports and a single device, which is automatically connected once available.

Audio to CV converts an audio signal to a control voltage signal.

Features: Plugin by MOD Devices

The Audio To CV Pitch plugin is a tool that turns your audio signal into CV pitch and CV gate signals. This allows audio from instruments (such as guitars) to play and control synth sounds and effects.

It detects the pitch in your incoming audio signal and outputs a 1V/Oct CV pitch signal on the top output. The bottom output carries the CV gate signal, it sends out 10V while a pitch is detected, and resets to 0V when the pitch can no longer be detected.

The Sensitivity parameter can be increased to detect quieter signals, or decreased to reduce artifacts. The Octave parameter allows you to shift the detected pitch up or down by a maximum of 4 octaves. When set to 0, it will output the same pitch as is detected on the input.

The plugin also features 3 parameters that are not visible on the plugin interface:

• The Hold Pitch parameter sets whether the plugin resets its outputs to 0, or holds the last detected pitch.
• Increase the Confidence Threshold to make sure the correct pitch is being output, or decrease it to get a faster response time.
• The Tolerance parameter influences how quickly you can change pitch, turn it down for a more accurate pitch output, or turn it up to make it easier to jump from one pitch to the next.

Features: Plugin by MOD Devices & DISTRHO Initial work by Bram Giesen

Avocado is an easy to use, ingenious stutter/glitch effect. It works well on any instrument, but the effect is more noticeable when the input signal has snappy attacks, and sudden silences. You can think of the Avocado as multiple delays running in parallel, where the signal randomly gets fed to one of the delay inputs, and is randomly played back from one of the delay outputs.

Avocado sports a single control: TIME. Change the value to change the duration of the effect. For more predictable glitching it is recommended to sync the TIME parameter to a musical subdivision of the tempo, especially for rhythmic parts.

Features: Plugin by remaincalm

A band pass filter, "Freq" determines its Center frequency, "Q" works on the filter bandwith and "Order" is the filter's order (or how fast frequencies above the higher cutoff frequency and below the lower cutoff frequency will decay). Higher the order, faster the decay.

OpenAV Bitta is a simple bit-crusher plugin with just two basic yet effective controls. The Crush parameter changes the number of bits used. The Mix parameter allows you to set the blend between the dry, and the bit-crushed signal.

Features: Modeled by OpenAV

This plugin contains the 'Drumkits Percussion' section of the AVL Drumkits series. These kits are intended to bring an authentic acoustic, organic drum sound to your arrangements and preserve real-world characteristics such as tom ringing and overtones, unlike many General MIDI kits that sound sterile. AVL Drumkits feature 5 sample layers per kit piece. The shell samples provide both center and edge hits to emulate right and left hands and the cymbals are quite realistic without truncated samples.

This plugin contains the 'Drumkits Percussion' section of the AVL Drumkits series. These kits are intended to bring an authentic acoustic, organic drum sound to your arrangements and preserve real-world characteristics such as tom ringing and overtones, unlike many General MIDI kits that sound sterile. AVL Drumkits feature 5 sample layers per kit piece. The shell samples provide both center and edge hits to emulate right and left hands and the cymbals are quite realistic without truncated samples.

This plugin contains the 'Drumkits Percussion' section of the AVL Drumkits series. These kits are intended to bring an authentic acoustic, organic drum sound to your arrangements and preserve real-world characteristics such as tom ringing and overtones, unlike many General MIDI kits that sound sterile. AVL Drumkits feature 5 sample layers per kit piece. The shell samples provide both center and edge hits to emulate right and left hands and the cymbals are quite realistic without truncated samples.

The BluesBreaker a low-gain pedal with a moderate overdrive and subtle boost.

Features: Developed by Brummer

A Bode/Moog Frequency Shifter is a popular analogue synth module, it works by shifting all the frequencies of an input signal up or down by a specified frequency. This version shifts in noth directions at the same time as its almost no extra work and its often useful to have both directions. It doesn't actually work in the same way as an analogue Bode/Moog, which use Dome filters as the core, it uses a Hilbert Transformer, which is much simpler to implemtent in digital systems. The output is very similar though, and people are familiar with the name Bode. The theory of operation is pretty simple, and uses some clever maths to cancel out the upper or lower sidebands of a ringmodulator applied to the input signal.

This stereo tempo delay features high pass and low pass filters as well as host tempo. When using it with the MOD Duo on software version >1.2.0, then please assign a footswitch to Host/MOD-Tempo. Otherwise you can assign the tap button to a foot switch. Always make sure to set the correct tempo mode. Enjoy! :-) And feedback is always welcome.

This stereo tempo delay features high pass and low pass filters as well as host tempo. This extended version features also modulation and clickless bypass as well als a trail mode. Be careful with the latter, as it will only fade out the signal to the delay buffers. Dry gain will be left untouched then and processing will continue to work in the background. Enjoy! :-) And feedback is always welcome.

A cabinet simulator that simulates a 1960 Marschall.

The plugin features multiple mic posistions and types

Features: Modeled by VeJa Plugins

The CAPS ampVTS is a digital guitar amplifier that is designed to feel and respond like a real tube amplifier. The tonestack is switchable and offers a more versatile amplifier. The tonestacks are based on classic tube amplifiers.

Features: Modeled by CAPS

A versatile selection of filters of varying character in band and lowpass configuration. The cutoff frequency can be modulated by both the input signal envelope and by a fractal oscillator. The default settings provide some sort of an automatic wah effect.

Features: Modeled by CAPS

A loudspeaker cabinet emulation far less demanding than the recommended CabinetIV.  Implemented as two sets of 31st-order IIR filters precomputed (using Prony's method) for fs of 44.1 and 48 kHz.

The appropriate filter set is selected at runtime.  The alt switch allows the selection of the same fiter model for the alternative sample rate; at 48 kHz the alternative will sound slightly darker, at 44.1 slightly brighter.  At other sample rates, the plugin will not sound very much like a guitar speaker cabinet.

Features: Modeled by CAPS

The CAPS Cabinet IV is a simulator that mimics the sound and behavior of a speaker cabinet. The cabinet comes loaded with a selection of impulse responses modeled after some of the most famous cabinets in the world!

Features: Modeled by CAPS

The Chief Executive Oscillator forever calls for more profit.

Features: Modeled by CAPS

A standard mono chorus with optional feedback. The parameter range suits subtle effects as well as all-out flanging.

Modifying the delay time t when feedback is active will cause audible 'zipper' noise.

Features: Modeled by CAPS

A sample-accurate metronome featuring a variety of click sounds, ranging from a wooden box struck with a mallet to a synthetic beep. All click sounds are synthesised once when the plugin is loaded and then played back from memory.

Features: Modeled by CAPS

This compressor has been designed primarily to create natural-sounding sustain for the electric guitar without sacrificing its brightly percussive character. However, it appears to apply well to a variety of other sound sources, and with CompressX2 a stereo version is available as well.

To be able produce strong compression and still maintain a natural sound, the design catches (attack-phase) power spikes with a soft saturation circuit, converting them into additional harmonic content and enforcing a strict limit on the output level. Saturating operation is the default setting of the mode control. Three anti-aliasing options are available, 2x oversampling with 32-tap filters and 4x with 64 and 128 taps.

The measure control select which indicator of loudness to base calculations on: peak – instantaneous amplitude – measurement allows the unit to react very quickly, while rms – root mean square power – is of a gentler kind.

Compression amount is controlled through the strength knob, from 0 effectively disabling the effect, up to a maximum ratio of 16:1. The attack and release controls map higher values to slower reactions.

Features: Modeled by CAPS

This stereo version of Compress applies uniform compression to both channels in proportion to their combined power.

Features: Modeled by CAPS

A classic octave-band biquad-filter design, basically a direct digital translation of the analog original. There's also a stereo version (Eq10X2).

Frequency bands centered above Nyquist are automatically disabled.

Features: Modeled by CAPS

The controls of this stereo version of Eq apply to both channels.

Features: Modeled by CAPS

This plugin turns the oscillating state of a fractal attractor into an audio stream. The result is something that most would without much hesitation classify as noise.

The Lorenz attractor is one of the earliest models of deterministic chaos discovered deriving from the Navier-Stokes equationswp.

The Rössler system is similar but contains only one non-linearity.

The x, y and z controls set the amplitude of the respective variables of the attractor state in the output audio signal.

The attractor state variables are scaled and translated to stay mostly within the [-1,1] range and not contain a DC offset. Nevertheless, due to the unpredictable nature of the systems, peak limits cannot be guaranteed.  In addition, some energy near DC may be produced; therefore a configurable high-pass filter is part of the circuit. It can be turned off by setting the hp parameter to zero.

The output signal varies with the sample rate.

Features: Modeled by CAPS

This plugin reduces the width of a stereophonic signal. Its primary use is for preventing fatigue from listening to 'creatively panned' music on headphones.

Mid/side processing tends to sound more transparent for moderate strength settings.  However, it will more strongly attenuate signals that are panned to the far sides of the stereo image (rarely encountered in contemporary music production anymore but quite common, for example, on early Beatles recordings or others from that time).

Features: Modeled by CAPS

This plugin aims to reduce undesirable background noise and hum in otherwise silent passages.

When the signal's instantaneous amplitude exceeds the opening threshold, the gate is opened. The time it takes until the gate is fully open can be set with the attack control. As soon as the signal's RMS power level drops below the closing threshold, the gate closes. This takes a fixed time of 20 ms; closed gate attenuation is 60 dB.

To cope with powerline hum as often present in signals from electric guitars, a notch filter can be activated by setting the mains frequency control to a non-zero value.  The filter will prevent this frequency from contributing to the signal power measurement. This allows a low closing threshold setting without mains hum keeping the gate open unduly.  The default mains setting is 50 Hz.

Features: Modeled by CAPS

The Phaser II is a modern take on this classic, well-loved effect. Thanks to its two modulation options, you will be able to customize your sound using either a traditional sine-based periodicity or the smoothened fractal oscillation.

Features: Modeled by CAPS

One of the most breathtaking reverb sounds of them all, a plate of sheet metal hanging in a box. The Plate plugin is based around the sound of a plate reverb, with its signature “smooth” reverb tail, and was crafted especially for a soft attack and smooth ambiance. The Plate reverb is useful for a wide variety of sounds. It tends to get along very nicely with other reverbs or even drum kits! Available in a stereo version.

Features: Modeled by CAPS

One of the most breathtaking reverb sounds of them all, a plate of sheet metal hanging in a box. The Plate plugin is based around the sound of a plate reverb, with its signature “smooth” reverb tail, and was crafted especially for a soft attack and smooth ambiance. The Plate reverb is useful for a wide variety of sounds. It tends to get along very nicely with other reverbs or even drum kits! Also available in a mono version.

Features: Modeled by CAPS

Please note that this plugin embodies a very basic building block of audio DSP, not an elaborate effect that will be pleasing to hear right away. To turn saturation into a musically useful effect it is usually combined with some sort of filtering and dynamics modulation.

The mode control chooses from a selection of clipping functions of varying character. Even-order harmonics can be added with the bias setting. Towards the maximum, sound will start to get scratchy and eventually starve away.

The plugin is 8x oversampled with 64-tap polyphase filters, effectively suppressing aliasing noise for most musical applications. Changes to the bias control induce short-lived energy at DC in the output. In order to reduce the computational load incurred when evaluating transcendental functions at eight times the nominal sample rate, these are approximated roughly, using Chebyshev polynomials whose coefficients depend on the amplitude's floating point representation exponent.

Features: Modeled by CAPS

The Scape delay looks like a straightforward delay pedal but there is more than meets the eye. The Eighth, Triplet and Sixteenth settings from the drop down menu create a dotted sounding rhythm. The delayed sounds can be re-tuned with the Tune knob in the settings session. Set it to your standard tuning of 440Hz and hear a normal rhythmical sounding delay. Or use it to achieve some interesting modulated sounds. Each note will be slightly different, further increasing the uniqueness of this effect.

Features: Modeled by CAPS

The old friend, indispensable for testing and tuning.

Features: Modeled by CAPS

Spice is your friend when more bass or more treble presence is called for and generic equalization does not work without raising the signal or noise level. This pedal is mostly used to refresh the signal that has been subjected to low-quality analog equipment. This pedal features individual control over the low and high frequencies. Both have 3 knobs, one for the desired frequency on which the pedal should operate, one for the overall compression and one for the output gain of the frequency range.

A stereo version is available as SpiceX2.

Features: Modeled by CAPS

Spice is useful when more bass or more treble presence is called for and generic equalization does not work without raising the signal or noise level. This pedal is mostly used to refresh the signal that has been subjected to low-quality analog equipment. This pedal features individual control over the low and high frequencies. Both have 3 knobs, one for the desired frequency on which the pedal should operate, one for the overall compression and one for the output gain of the frequency range.

A mono version is available as Spice.

Features: Modeled by CAPS

This emulation of the tone stack of a traditional Fender-design instrument amplifier has been devised and implemented by David T. Yeh, with subsequent expansion to include more models by Tim Goetze.

Due to the nature of the original circuit, the bass, mid and treble controls are not operating independently as in a modern three-way equaliser.

All but the last model are using the procedural implementation with continuously updated direct form II filters and sample rate independency.  It must be noted that the "DC 30" preset has been included despite the slight difference in topology between the British original and the Fender circuit.

The "5F6-A LT" model is using the lattice filter implementation mentioned in [yeh06], operating on precomputed simulation data for 44.1 kHz.

Features: Modeled by CAPS

Mostly white pseudonoise, mixed and filtered from the output of two Dattorro multibit generators.

Features: Modeled by CAPS

Wider increases the width of a signal. In addition to providing a basic panorama control, a perception of stereo width is created using complementary filters on the two outputs.

Features: Modeled by CAPS Based on the Orban 245F Stereo Synthesizer© (*)

(*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Orban 245F Stereo Synthesizer© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

This cabinet offers some of the most famous guitar cabinets. Each cabinet is based on a real cabinet that is recorded with a microphone. Clean players will love the laney 4x10 while rock and metal enthusiasts will find the mesa 4x12 or the orange 2x12 more suiting.

The MOD Cabinet Loader enables you to play through your favorite cabinet impulse responses (IRs).

The plugin is very easy to use: Simply select the IR file, set the level as desired and off you go.

IRs can be uploaded using the file manager in either WAV and FLAC format. Multi-channel files are supported but always processed in mono mode using the first channel. For faster loading it is recommended to use WAV format files with 48kHz and 24 bit.

Features: Plugin by MOD Audio & DISTRHO, based on HiFi-LoFi FFTConvolver engine.

Filtered distortion to add brilliance to your tracks. The saturation stage is taken from Tom Szilakyi's TAP-plugin pack.

Development: Markus Schmidt, Tom Szilagyi

Compensation Delay Line is a metric based delay to compensate differing positions of microphones or speakers.

Development: Vladimir Sadovnikov

Smooth sounding dynamic compressor with a variety of settings, written by Thor Harald Johansen. RMS/peak modes, A-weighting, metering - feels like real studio gear!

Development: Thor Harald Johansen, Krzysztof Foltman

The Calf Crusher lets you crush your signal by reducing the bit resolution. The reduction can be done in a linear or logarithmic way while the logarithmic way results in a much smoother sound in low volume signals. On top of that, the edges, which are created by the bit reduction, can be anti-aliased. This lets you create a numerous variety of sound effects for your signal.

Development: Markus Schmidt, Christian Holschuh

This plug-in is also known as Auto-Wah - a filter following the envelope of a signal. The Calf version provides a couple of filters to choose from together with some fine grained settings of the envelope to frequency calculation like setting a curve from convex over linear to concave. Additionally there's a sidechain input to use a different signal for the envelope than for the processing itself.

Development: Markus Schmidt

Based on different filters these series of equalizers was invented to provide some specialized tools for everyday's signal processing. A gain of +-36dB and maximum slew rates for the peak filters offer great flexibility for eliminating or creating resonances and shaping your frequency range. All bands are capable of processing stereo, left, right, M-S mid or M-S side individually. An Analyzer in the display provides a visual representation of your settings. This version offers two shelving filters and 3 peak filters. It's the right choice for some minor frequency range adjustments.

Development: Markus Schmidt, Krzysztof Foltman

Filtered distortion to add brilliance to your tracks. The saturation stage is taken from Tom Szilakyi's TAP-plugin pack.

Development: Markus Schmidt, Tom Szilagyi

Selectable 12dB/24dB/36dB rolloff, lowpass or highpass with inertia/smoothing for cutoff for more "analog" sound when tweaking. Particularly useful for drum loops or guitars in house music.

Development: Krzysztof Foltman

Simple stereo flanger with linear interpolation. If "zipper noise" of basic flanger effects is driving you mad, try this one!

Development: Krzysztof Foltman

Because of the flexibility of Thor's compression detection we were able to use it as a solid base for a noise gate. The controls may seem a bit unusual but they provide high flexibility in detecting and eleminating your noise floor - Calf Gate bites off your sustain!

Development: Damien Zammit, Thor Harald Johansson

Single banded compressor based on a different compression routine than the main Calf Compressor.

Development: Damien Zammit

Simple monophonic synthesizer with 2 oscillators, multimode filter and an envelope. Designed to maximize flexibility while minimizing the number of controls. Useful for synth basses and leads.

Development: Krzysztof Foltman

Multi-tap stereo chorus with adjustable number of voices. Adds warmth and richness, especially if you give it a lot of CPU power. A lot of options make this effect highly flexible in expression.

Development: Krzysztof Foltman

A versatile organ/pad synthesizer, capable of producing many types of sounds:

• tonewheel organs (up to 9 drawbars)
• solid state organs (9 independent oscillators with many waveforms to choose from, individual panning, phase shift and detune for each oscillator)
• strings-like or choir-like pads (thanks to a set of long looped samples generated using padsynth algorithm invented by Nasca Octavian Paul)
• fat basses and searing leads
• The sound from some or all oscillators can be processed using 2 independent (but connectable) filter sections, controlled by up to 3 ADSR envelopes. A vibrato/chorus/phaser section makes the sound more vivid.

Development: Krzysztof Foltman Sample generation algorythm: Nasca Octavian Paul

A pretty basic stereo phaser with all typical settings (center frequency, modulation depth, LFO rate number of stages, feedback, amount, L-R LFO phase difference and amount). Provides a LFO reset button for consistent song playback. The number of stages goes up to 12.

Development: Krzysztof Foltman

Calf Pulsator is something inbetween an autopanner and a tremolo, but it can produce funny stereo effects as well. Pulsator changes the volume of the left and right channel based on a LFO (low frequency oscillator) with different waveforms and shifted phases.

Development: Markus Schmidt

Simple reverb with basic controls and relatively neutral sound. No dreaded metal barrel sound, but at the expense of higher CPU use and less time density. Like most artificial reverberators, it is not suitable for every instrument, but try it on vocals, guitars or Calf synths, and you will like it.

Development: Krzysztof Foltman

Universal distortion tool. Saturator can act as a guitar distortion as well as a harmonics generator. Some useful filters before and after the distortion stage and gapless adjustment between 2nd and 3rd harmonics give you a great flexibility in sound. The saturation stage is taken from Tom Szilakyi's TAP-plugin pack.

Development: Tom Szilagyi, Markus Schmidt

A very simple simulation of tape echo, with a filter in a feedback loop and BPM-based time setting. The number of controls is limited, but all the essential stuff is there. Suitable for synths, guitars and almost anything else.

Development: Krzysztof Foltman

This synthesizer is based on predefined wavetables with a ADSR section.

Development: Krzysztof Foltman

The Capo is a pitch-shifter that can raise the pitch with a maximum of +12 semitones (steps). It is more limited than the SuperCapo, but it also uses less processing power, allowing you to use the resources for other plugins!

Features: Modeled by MOD Devices

Chow Centaur is a digital emulation of the Klon Centaur guitar pedal ()

The plugin contains two modes:

• "Traditional" uses traditional circuit modelling techniques
• "Neural" uses a recurrent neural network to model the gain stage from the original circuit

Features: Modeled by Jatin Chowdhury

() 'Product names and trademarks are the property of their respective holders that do not endorse and are not associated or affiliated with MOD Audio or Klon Centaur; they were used merely to identify the product whose sound was incorporated in the creation of this plugin.'

CollisionDrive is modeled after the Horizon Devices Precision Drive(), a modern overdrive pedal with a built-in noise gate.

Besides the usual Volume and Drive controls, the CollisionDrive features Attack and Bright controls.

The Attack control manipulates the response of the pedal, turning it down simultaneously softens the overdrive attack and increases the sustain.

The Bright control gives you even more flexibility. It can add presence to darker sounding amps, or remove buzzing when needed.

The Gate control sets the noise gate threshold. In the plugin interface, this control lights up to indicate that the noise gate is active.

Features: Modeled by Brummer Based on the Horizon Devices Precision Drive(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Horizon Devices Precision Drive is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Based on work by James McCartney in SuperCollider.

Based on work by James McCartney in SuperCollider.

Based on work by James McCartney in SuperCollider.

The MOD Compressor is a streamlined high quality end-of-chain compressor which can also be found in the MOD Dwarf's and Duox's output processing settings.

There are 3 modes available: light, mild and heavy compression. There is also a release time parameter, and a simple gain parameter. For more in depth control, try the MOD Compressor Advanced plugin.

Features: Modeled by VeJa Plugins Plugin by MOD Devices

The MOD Compressor Advanced uses the same high quality algorithm as the compressor found in the MOD Dwarf's and Duox's output processing settings.

This advanced version exposes all parameters of the algorithm, and therefore allows for more control. For a more streamlined experience, try the MOD Compressor plugin.

Features: Modeled by VeJa Plugins Plugin by MOD Devices

Control to CV enables you to generate a control voltage signal from a control value.

Features: Plugin by MOD Devices

The MOD Convolution Loader enables you to easily create custom reverb and other effects using impulse responses (IRs).

Using a very resource effective processing, it allows IRs with a length of up to 15s on the MOD Dwarf and MOD Duo X, less on the MOD Duo.

IRs can be uploaded using the file manager in the WAV and FLAC format. Multi-channel files are supported, but processed always in stereo mode. For faster loading it is recommended to use WAV format files with 48kHz and 24 bit.

The plugin is very easy to use: Simply select the IR file, set the levels as desired, optionally filter out some low end with the built-in high pass filter, and off you go.

There is a Trails switch in the advanced settings; when enabled the reverb tail peacefully decays when you bypass the plugin, disable it and the tail will immediately disappear when bypassed.

Features: Plugin by MOD Audio & DISTRHO, based on HiFi-LoFi FFTConvolver engine.

The Two Way CrossOver is a simple and effective filter for splitting your signal in two different frequency ranges. It acts by applying a high pass filter and a low pass filter on each other outputs. The Frequency knob defines on which frequency you want to start filtering the signal, while the Order switch indicates how intensively the cutoff frequency will decay.

Features: Modeled by MOD Devices

This plugin receives an input signal and outputs 3 filtered signals. First one is filtered with a low pass filter (LPF), the second with a band pass filter (BPF) and the third with a high pass filter (HPF), cutoff frequency used on LPF and as the lower frequency from BPF is controlled by "Freq 1" and cutoff frequency used as the higher frequency on BPF and in HPF is controlled by "Freq 2". "Order" indicates filter's orders (or how fast frequencies above (in HPF) or below (in LPF) the cutoff frequency will decay. Higher the order, faster the decay) ."Gain 1", "Gain 2" and "Gain 3" controls the gains of all outputs respectively.

This is a simulation of the distortion that happens in class B and AB power amps when the signal crosses 0. For class B simulations the smooth value should be set to about 0.3 +/- 0.2 and for AB it should be set to near 1.0.

Crypt is a software synthesiser plugin designed for creating spacious cold hyper-unisoned synth sounds. It features unison oscillation of up to 64 detuned oscillators, and parameters to create dirt and space in the sound.

Features: Modeled by David Whiting

Based on a CSound orchestra file by Sean Costello. There are two low frequency oscillators, each having three outputs that are 120 degrees apart in phase. The summed outputs modulate three delay lines. Make sure the static delay (first parameter) is at least equal to the sum of the two modulation depths.

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

This is similar to the CSound module 'phaser1'. It's a series connection of 1 to 30 first order allpass filters with feedback. For 'Output mix', the range -1 to 0 crossfades between the inverted output and the input, and the range 0 to 1 crossfades between the input and the non-inverted output. Without feedback, the maximum effect is at +/- 0.5. For both 'Feedback gain' and 'Output mix', the best polarity depends on whether the number of sections is even or odd.

Features: Modeled by FOMP

The MOD CV ABS performs a mathematical operation on the signal that is particularly useful for algorithmic and generative patches. The plugin converts the incoming CV value to an absolute value, which means that it returns the distance between the incoming value and zero. The result is that all negative input values will become positive on the output.

Features: Plugin by MOD Devices

CV Clock generates CV clock pulses or square waves in multiple divisions. The clock can run in free mode or be signed with the host tempo.

Features: Plugin by MOD Devices

A variable CV gate that has a parameter to set the value that opens the gate and a parameter that sets the value that closes the gate.

The plugin sends the input signal to the output whenever the gate is opened. When the gate is closed, the output will send the value 0v.

Features: Plugin by MOD Devices

The CV Meter displays the value of the current incoming CV signal and the lowest and highest measured value over time.

Features: Plugin by MOD Devices

The MOD CV Parameter Modulation plugin is a control voltage utility specifically designed for use with MOD Devices’ products. Its purpose is to facilitate mapping internal control voltage signals to plugin parameters, using the “manage CV ports” feature.

The PARAMETER VALUE sets the initial value (before modulation is applied) of the mapped plugin parameter. The MODULATION DEPTH sets the amount of modulation on the mapped plugin parameter, coming from the control voltage input of the CV Parameter Modulation plugin. To invert the polarity of the modulation, set this parameter to a negative amount.

Features: Plugin by MOD Devices

The MOD CV Range Divider routes the incoming signal to one of its two outputs based on the configured range and the value of the incoming signal. If the signal is within the set range it goes to the first output, when the signal is out of range it’s routed to the second output.

Features: Plugin by MOD Devices

The MOD CV Round performs multiple mathematical operations that are useful for algorithmic and generative patches. Each operation has its own dedicated output. The operations are round, ceil, floor and fraction.

For example if the incoming signal would be 1.4v the plugin would return a rounded value of 1.0v, the ceiled value of 2.0v, the floored value of 1.0v and the fraction which would be 0.4v.

Features: Plugin by MOD Devices

CV Switchbox 1-2 routes one cv input to either one of the two outputs.

Features: Plugin by MOD Devices

CV Switchbox 1-3 routes one cv input to either one of the three outputs.

Features: Plugin by MOD Devices

CV Switchbox 2-1 routes either one of the two cv inputs to one cv output.

Features: Plugin by MOD Devices

CV Switchbox 3-1 routes either one of the three cv inputs to one cv output.

Features: Plugin by MOD Devices

Reads in a cycle's-worth of the input signal, then (once the whole cycle's been read in) outputs it again, on top of the current output. Works best with long/sustained sounds (e.g. strings, pads etc.), sounds like a weird kind of gentle distortion.

Decimates (reduces the effective sample rate), and reduces the bit depth of the input signal, allows non integer values for smooth transitions between clean and lofi signals.

Random seed: Controls the random numbers that will be used to stagger the delays and amplitudes if random is turned up on them. Changing this forces the random values to be recalulated. Input gain (dB): Controls the gain of the input signal in dB's. Feedback (%): Controls the amount of output signal fed back into the input. Number of taps: Controls the number of taps in the delay. First delay (s): The time of the first delay. Delay range (s): The time difference between the first and last delay. Delay change: The scaling factor between one delay and the next. Delay random (%): The random factor applied to the delay. Amplitude change: The scaling factor between one amplitude and the next. Amplitude random (%): The random factor applied to the amplitude. Dry/wet mix: The level of delayed sound mixed into the output.

source: http://plugin.org.uk/ladspa-swh/docs/ladspa-swh.html#tth_sEc2.31

The DIE Fluid Synth is a generator plugin that makes use of SF2 Instrument files (with support for the unofficial vorbis/flac-encoded SF3 format). Upload your own instruments to your MOD Device through the file manager, and use this plugin to play them by sending MIDI notes to its input. The entire file is loaded into RAM.

Some SF2 Instrument files contain multiple patches, and some are even multi-timbral, using a MIDI channel per timbre. MIDI program changes can be used to change the instrument patch for the respective MIDI channel.

The plugin can tweak the chorus and reverb defined in the SF2 instrument. The chorus is capable of a wide range of sounds, from thickening the sound to all-out wacky modulation, while the reverb helps giving that finishing touch to the sound.

Features: Original plugin from Ardour Community Effects, based on Fluid Synth engine Adapted & maintained by DISTRHO GUI by MOD Devices

Dragonfly Early Reflections is a reverb effect based on Moorer's early reflection model. This is the same algorithm used in Dragonfly Hall and Dragonfly Room, but without any late reverberation algorithm.

There are eight Reflection types to pick from; The names are primarily meant to be memorable, and are only vaguely related to how each reflection type sounds.

The plugin has controls to set the Wet Level, Dry Level, Size and Width. It also comes with post-reverb Low cut and High cut parameters.

Features: Plugin by Michael Willis Based on Freeverb3 VST GUI by FistfulOfStars

Dragonfly Hall Reverb is a high fidelity reverb effect. It is primarily intended for use as a concert hall reverb. It also has numerous smaller presets representing rooms, studios, and chambers.

Please note that the Dry Level, Early Level, Early Send and Late Level controls are decoupled from the preset. This allows you to set the levels and explore the different presets without the levels changing.

The plugin has basic controls to set the Size, Width, Predelay and Decay. There are also more advanced controls to further tweak the reverb: Diffuse, Modulation, Spin and Wander. Finally, there are two filter sections (High and Low) with Cut, Cross and Mult controls.

Features: Plugin by Michael Willis Based on Hibiki Reverb from Freeverb3 VST GUI by FistfulOfStars

Dragonfly Plate is an easy to use, high fidelity plate reverb plugin.

It comes with a variety of plate and tank presets for you to explore. Please note that Wet level and Dry level controls are decoupled from the preset. This allows you to set the levels and explore the different presets without the levels changing.

There are three different Reverb types available:

• Simple, a thin plate algorithm with a sparse tail and some slight early reflections
• Nested, a thick plate algorithm with a dense tail and no early reflections
• Tank, a tank algorithm based on Jon Dattorro's Effect Design paper

The plugin has controls to set the Width, Predelay and Decay. It also comes with pre-reverb Low cut and High cut parameters, and a Dampen control which controls a low pass filter applied to the reverb algorithm's internal feedback loop.

Features: Plugin by Michael Willis Based on Nverb and STRev from Freeverb3 VST GUI by FistfulOfStars

Dragonfly Room Reverb is a high fidelity reverb effect. It has several different room presets, as well as a small number of hall presets and effect presets.

Please note that the Dry Level, Early Level, Early Send and Late Level controls are decoupled from the preset. This allows you to set the levels and explore the different presets without the levels changing.

The plugin has basic controls to set the Size, Width, Predelay and Decay. There are also more advanced controls to further tweak the reverb: Diffuse, Spin and Wander. Finally, there are two filter sections with controls for: High Cut, Early Damp, Late Damp, Low Cut, Low Boost and Boost Freq.

Features: Plugin by Michael Willis Based on ProG Reverb from Freeverb3VST GUI by FistfulOfStars

Drop is a pitch-shifter that can drop the pitch to a maximum of -12 semitones (steps). Have more control over your processing power by adjusting the fidelity of the plugin. A lower fidelity means a less pristine sound, but less processing power and vice-versa.

Features: Modeled by MOD Devices

This tremolo effect can be used in either a mono or stereo mode and has all the features you would expect. Rate and depth are adjustable along with the shape of the waveform and the phase difference between the left and right channels.

This is a simple distortion effect can be used in either a mono or stereo mode. It has controls for pre and post distortion filtering as well as a colour control for adjusting the waveshape.

This is a highly configurable Distortion with a user-definable transfer function. This means that you can control the curve used to define the distortion yourself using two points. This allows for extremely custom distortion sounds. Both input and output gains are controlable as well as simple pre and post distrotion low-pass filters to customise the distortion even more and remove harsh high frequencies if necessary.

This is a stereo flanger effect. It large intensity range and adjustable feedback ammount for extreme effects. An output mix control is also provided to adjust how much of the effect is applied to the track.

This is a highly configurable Reverb based on the Schoeder/Moorer model. It includes controls for adjusting Pre-delay, Early Reflections and Late Reverb as well as various room parameters such as shape, absorption and diffusion.

The DS1 is modeled after the legendary BOSS DS-1(), a distortion pedal mainly used for guitar.

Simply put, the DS1 distortion pedal is a modern classic. It was first produced in 1978 and is still widely popular. No wonder it was part of pedalboards from great names such as Kurt Cobain, Joe Satriani, Steve Vai and Josh Klinghoffer.

The DS1 features three knobs which can take the sound in a variety of different directions. By cranking up its tone levels and distortion knobs, you can pull out a range of different tones, from subtle bite to rich crunch to all-out fuzz. The midrange on the DS1 is scooped, giving it a distinct tonal flavor, which many players prefer. Want sonic reference? Give Nirvana's "Smells Like Teen Spirit" a listen - all that crunch came courtesy of a DS1.

Features: Modeled by MOD Devices Based on the classic BOSS DS-1(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. BOSS DS-1 is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

FatFrog is a High Gaim Amplifier simulation, moddeled after several Amplifier Circuit snippets.

It cover a range from Clean to High Gain sounds.

A Bright Switch is implemented.

For best results use it with a Cabinet simulation.

Features: Modeled by Brummer Based on several Amplifier Circuit snippets.

A highpass and lowpass filter combined in a single knob! The simplest way of limiting your frequency range or sweeping your sound around.

Features: Modeled by OpenAV

Floaty is a wild modulation/delay effect that is reminiscent of a tape delay. One of the key features is the variable playback speed, allowing for repeats that ascend/descend in pitch.

There are six controls available to tame the beast: three common delay parameters (TIME, MIX and FEEDBACK) and three more special ones. WARP sets the amount of modulation with the left side being mellow and the right side being fast. TONE sets a combination of bandpass filter frequency and resonance. RATE sets the playback speed anywhere between -200% and +200%. Disclaimer: the delay buffer is cleared whenever the TIME parameter gets a new value.

Features: Plugin by remaincalm

This plugin contains the 'Bass' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Brass' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Chromatic Percussion' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Drums' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Ensemble' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Ethnic' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Guitar' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Organ' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Percussion' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Piano' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Pipe' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Reed' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Sound FX' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Strings' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Synth FX' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Synth Leads' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

This plugin contains the 'Synth Pads' section of the Fluid GM soundfont. The Fluid GM soundfont was constructed in part from edited/cleaned/remixed/programmed samples found in the public domain and recordings made by Frank Wen.

The Fuzz is a physically informed fuzz stompbox emulation. Based on several popular Fuzz pedal schematics, it was designed to capture the sound on an era rather than emulate a specific model.

Features: Modeled by Rakarrack

Simple mono volume gain plugin without "zipping" noise when messing around with the gain parameter. Also available in a stereo version.

Features: Modeled by MOD Devices

A simple stereo volume gain plugin without "zipping" noise when messing around with the gain parameter. Also available in a mono version.

Features: Modeled by MOD Devices

The parameters are copied from the Drawmer DS-201. LF key filter (Hz): Controls the cutoff of the low frequency filter (highpass). HF key filter (Hz): Controls the cutoff of the high frequency filter (lowpass). Threshold (dB): Controls the level at which the gate will open. Attack (ms): Controls the time the gate will take to open fully. Hold (ms): Controls the minimum time the gate will stay open for. Decay (ms): Controls the time the gate will take to close fully. Range (dB): Controls the difference between the gate's open and closed state. Output select (key listen, gate, bypass): Controls output monitor. 'Key listen' is the output of the key filters (so you can check what is being gated on). 'Gate' is the normal, gated output. 'Bypass' is bypass mode.

IIR bandpass filter based using chebishev coefficients. The filter allows you to tweak the number of stages used for filtering. Every stage adds two more poles, which leads to a steeper dropoff. More stages need more CPU power. This filter was ported from the glame multitrack editor.

The Alembic is inspired by the Alembic F-2B© studio preamp ().

The Alembic appeared in the late 60’s and was inspired by the circuit on the Fender Dual Showman© (*) amps, which were known for their deep and clean powerful tone. This legend featured a 12AX7 tube in each section and was widely used for both bass and guitar.

Features: Modeled by Guitarix

() ”Other product names modeled in the software trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Alembic F-2B© preamp and Fender Dual Showman© are a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.”

The Alembic is inspired by the Alembic F-2B© studio preamp ().

The Alembic appeared in the late 60’s and was inspired by the circuit on the Fender Dual Showman© (*) amps, which were known for their deep and clean powerful tone. This legend featured a 12AX7 tube in each section and was widely used for both bass and guitar.

Features: Modeled by Guitarix

(*) ”Other product names modeled in the software trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Alembic F-2B© preamp and Fender Dual Showman© are a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.”

Stereo version of the GxAmplifier-X

The GxAmplifier-X is a do-it-all amplifier simulator based on some of the most famous tube amplifiers such as Fender, Mesa, Soldano, Vox and Marshall models. The ability to switch preamp and power amp tubes makes it an even more versatile amp. The built-in cabinet simulation eliminates the need of an additional cabinet simulator. Whether you are looking for a Fenderish sound, or a metal sound straight out of the eighties, the Gx-Amplifier-X will fulfill all your needs.

Features: Modeled by Guitarix

The GxAmplifier-X is a do-it-all amplifier simulator based on some of the most famous tube amplifiers such as Fender, Mesa, Soldano, Vox and Marshall models. The ability to switch preamp and power amp tubes makes it an even more versatile amp. The built-in cabinet simulation eliminates the need of an additional cabinet simulator. Whether you are looking for a Fenderish sound, or a metal sound straight out of the eighties, the Gx-Amplifier-X will fulfill all your needs.

Features: Modeled by Guitarix

Analog wah emulation of the classic Dunlop Crybaby (), in a auto-wah version.

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Dunlop Crybaby is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Unofficial documentation

The GxBajaTubeDriver is a tube distortion plugin based on the BK Butler 911 Tube Driver® (). Originally put together in 1975 by keyboardist Brent Butler to be used as tube overdrive for his organ, the pedal found itself in the hands of a guitarist and the rest was history. It quickly became a favorite for many elite players thanks to its smooth distortion, its boost capabilities, but also its flexibility, as it can be used as a tone-shaper, a pre-amplifier or an extra amp channel. The GxBajaTubeDriver offers a variety of sounds, ranging from clean “Marshall in a can”, to fuller, thicker tones.

Features: Modeled by Guitarix (*) ”Other product names modeled in the software trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. BK Butler 911 Tube Driver® is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.”

A 2 band boost plugin which allows you to boost the high and the low frequencies independently.

Features: Modeled by Guitarix

The GxCabinet is based on emulations of famous cabinet models ranging from more classic vintage sounding to modern, cleaner tones.

Features: Modeled by Guitarix

"In music, a chorus effect (sometimes chorusing or chorused effect) occurs when individual sounds with roughly the same timbre and nearly (but never exactly) the same pitch converge and are perceived as one. While similar sounds coming from multiple sources can occur naturally (as in the case of a choir or string orchestra), it can also be simulated using an electronic effects unit or signal processing device." Wikipedia

*Unofficial documentation

source: http://en.wikipedia.org/wiki/Chorus_effect

The ToneBender is modeled after the Colorsound ToneBender© ().

The Colorsound ToneBender is a highly sought-after four transistor fuzz based on the original schematic of the Big Muff Pi. Nonetheless, it has its own unique sound which is often brighter. With its own bank of notable users such as Jack White, Jimmy Page and Pete Townshend, this pedal became an icon of its own.

Features: Modeled by Guitarix

(*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Colorsound Tone Bender© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

"Compression (or more technically Dynamic range compression) is a subtle effect primarily for electric guitar where the highest and lowest points of the sound wave are "limited". This boosts the volume of softer picked notes, while capping the louder ones, giving a more even level of volume. This is frequently used in country music, where fast clean passages can sound uneven unless artificially 'squashed'." Wikipedia

*Unofficial documentation

source: http://en.wikipedia.org/wiki/Compression_%28electric_guitar%29

The GXCrybaby is an auto-wah pedal inspired by the Dunlop Cry Baby GCB95. This is a classic amongst the classics. Name any great guitarist and he will have used it. This has the highest frequency range of all famous Dunlop() wahs. This makes it especially suitable for clean and distorted sounds, such as the legendary rhythm tool that some generations still remember from the Shaft soundtrack, or the title tune of “The Streets of San Francisco”.

Features: Modeled by guitarix Based on the Dunlop Cry Baby GCB95

(*)'Other product names modeled in the software trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Dunlop GCB95 Crybaby is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.'

A stereo delay plugin with independent delay time and delay gain for each channel. It also has a LFO modulator and two modes: linear and pingpong.

*Unofficial documentation

The increasing availability of cheap digital signal processing electronics in the 70s-80s resulted in the development of the first digital delays on the market. The first digital delay in pedal form was the Boss DD-2© () in 1984.

The GxDigital_delay offers flexibility over the signal processing with classic controls such as feedback, mix and time, as well as a basic EQ for some on the spot manipulations.

Features: Modeled by Guitarix

() “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. BOSS DD-2© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

The increasing availability of cheap digital signal processing electronics in the 70s-80s resulted in the development of the first digital delays on the market. The first digital delay in pedal form was the Boss DD-2© () in 1984.

The GxDigital_delay offers flexibility over the signal processing with classic controls such as feedback, mix and time, as well as a basic EQ for some on the spot manipulations.

Features: Modeled by Guitarix

(*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. BOSS DD-2© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

The delayed signal added to output dependent of input signal amplitude. If the input signal is high. The delayed signall turned off, and vise versa. The switching controlled by envelope follower

*Unofficial documentation

The delayed signal added to output dependent of input signal amplitude. If the input signal is high. The delayed signall turned off, and vise versa. The switching controlled by envelope follower

A stereo echo plugin with independent delay time and delay volume for each channel. It also has a LFO modulator and two modes: linear and pingpong.

*Unofficial documentation

This low compression overdrive pedal is perfect for any style of music that requires natural sounding overdrive that doesnt color your tone. The Eternity also acts as a treble booster with the unique Glass control. The Glass control doesnt act like a normal tone knob. It actually boosts high end so even when rolled all the way off, the Sound comes still as a creamy smooth tone without being muddy or muffled.

"The expander is a compressor in reverse. There are two types of expander. In some, signals above the threshold remain at unity gain whereas signals below the threshold are reduced in gain, whereas in others the signal above the threshold also has the gain increased. Therefore you can use an expander as a noise reduction unit. Set the threshold to be just below the level of the player when playing. When the player stops the signal will fall below this threshold and the signal is reduced in gain thus reducing the noise or spill."

*Unofficial documentation

source: http://www.sae.edu/reference_material/audio/pages/Compression.htm

"Flanging /ˈflændʒɪŋ/ is an audio effect produced by mixing two identical signals together, one signal delayed by a small and gradually changing period, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resulting frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. A flanger is an effects unit that creates this effect.

Part of the output signal is usually fed back to the input (a "re-circulating delay line"), producing a resonance effect which further enhances the intensity of the peaks and troughs. The phase of the fed-back signal is sometimes inverted, producing another variation on the flanging sound." Wikipedia

*Unofficial documentation

source: http://en.wikipedia.org/wiki/Flanging

The Gx FuzzFace FullerMod is modeled after the classic Fuzz Face pedal(), but with the Fuller Mods.

The classical Fuzz Face originated in 1966. Back then, the pedal did not get that much attention as it lacked the very popular tube sound. Nowadays, it is considered a classic thanks to Jimi Hendrix using it extensively.

The classic Fuzz Face has two controls: Volume and Fuzz. Now, with the Fuller mods 2, further controls are introduced. The input and drive knobs are used in order to “clean” up the distortion that the Fuzz Face produces, crafting more subtle shades of softer distortion.

Features: Modeled by the Guitarix Based on the classic Dunlop Fuzz Face(*)

() 'Other product names modelled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Dunlop Fuzz Face is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

The Fuzz Face is modeled after the Dunlop Fuzz Face© ().

The Dunlop Fuzz Face© () sits among the icons. Its uncanny ability to add harmonic richness and subtle drive on lower settings, associated with a satisfying full-on roar when turned up makes it a spicy little red box. With a roster of power users that includes guitar legends and modern heroes from David Gilmour and Jimi Hendrix to Eric Johnson and Joe Bonamassa, the Fuzz Face© () has a unique, unmistakable sound no matter the player.

Features: Modeled Guitarix

() “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Dunlop Fuzz Face© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

The GxFuzzMaster is modeled after the Vintage Fuzz Master© ().

The Vintage Fuzz Master© (*) is a really wild fuzz that gives back to the fuzz sound that was heard in the most insane Jimi Hendrix performances, or psychedelic noise freak outs of the 60’s and 70’s. Most of these sounds were created by combining multiple fuzz faces and/or tone benders with a high gain stack. The Vintage Fuzz master puts all of this in one tiny package. All the madness of a vintage fuzz without the hassle of carrying a stack with you.

Features: Modeled by Guitarix Based on the Vintage Fuzz Master© (*)

(*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Vintage Fuzz Master© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

"In the graphic equalizer, the input signal is sent to a bank of filters. Each filter passes the portion of the signal present in its own frequency range or band. The amplitude passed by each filter is adjusted using a slide control to boost or cut frequency components passed by that filter. The vertical position of each slider thus indicates the gain applied at that frequency band, so that the knobs resemble a graph of the equalizer's response plotted versus frequency." Wikipedia

*Unofficial documentation

source: http://en.wikipedia.org/wiki/Equalization_%28audio%29#Graphic_equalizer

The GxHogsFoot is modelled after the Electro-Harmonix Hog’s Foot bass booster© ()

The Electro-Harmonix Hog’s Foot bass booster was first released in the 1968. The pedal boosts the low frequencies giving more bass to your sound! Very useful for players with modern, trebly basses wanting to get more of a sixties “thud” sound. The beauty of this model is that there is no “popping” footswitch or cracking potentiometer, like with the original pedal.

Features: Modeled by Guitarix () “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Electro-Harmonix Hog’s Foot© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

Analog distortion emulation of the Dunlop Fuzz Face-based Hornet ()

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Dunlop Fuzz Face is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Unofficial documentation

The Hyperion is modeled after the The Hyperion Bass Fuzz(*).

The Hyperion Bass Fuzz(*) is a bass fuzz that has the nickname “Big Muff killer” due to its heavy fuzz. It has a standard two-knob interface that allows for summoning deep, sustained fuzz and nuanced pick articulation depending on how the pregain is set. With its really fat low end sound it is mostly used for bass, but it suits the guitar just as well! The hyperion is perfect for psych rock, stoner metal, or shoegaze.

Features:

Modeled by the Guitarix team

Based on the The Hyperion Bass Fuzz(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD.

The Hyperion Bass Fuzz is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.

Emulation of the classic Marshall JCM800 preamp ()

() 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Marshall JCM 800 is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Emulation of the classic Marshall JCM800 preamp ()

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Marshall JCM 800 is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

*Unofficial documentation

The GxKnightFuzz is a distortion plugin based on the vintage Knight Fuzz KG-389 which was originally sold as a DIY kit in the mid 60s. This rarity was originally advertised as “The wildest sound you’ve ever heard” to an audience of young guitar geeks. And it delivers, to say the least! Its minimalistic interface allows you to achieve that rough, gritty fuzz while keeping the bottom-end fluid and not too muddy. The GxKnightFuzz is the perfect compromise between simplicity and versatility.

Features:

Modeled by Guitarix

The MicroAmp is designed to be a transparent clean volume booster. Placing it before the amp the signal boost will drive the preamp harder and into more saturation.

Emulation of the Electro-Harmonix Mole bass booster ()

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Electro-Harmonix Mole is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Unofficial documentation

Analog distortion emulation of the Electro-Harmonix Muff ()

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Electro-Harmonix Muff is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

*Unofficial documentation

"Multiband (also spelled multi-band) compressors can act differently on different frequency bands. The advantage of multiband compression over full-bandwidth (full-band, or single-band) compression is that unneeded audible gain changes or "pumping" in other frequency bands is not caused by changing signal levels in a single frequency band." Wikipedia

*Unofficial documentation

source: http://en.wikipedia.org/wiki/Dynamic_range_compression#Multiband_compression

A delay that makes it possible to delay every frequency band individually, with crossovers

*Unofficial documentation

A distortion that makes it possible to distort every frequency band individually, with crossovers

Unofficial documentation

The Gx OC-2 is an octaver pedal which drops the sound one and two octaves down to create an extra fat tone. The Gx OC-2 is partially inspired by the Boss OC-2(), a classic that has been around for quite some time. With very simple controls, the knobs set the volume of the sound that is either one or two octaves down. The direct sound is used to set the volume of your normal input sound. Pro-tip: you can cop a cool synth sound if you crank the Octave 1 knob up while keeping the other two knobs turned down.

Features: Modeled by the Guitarix Based on the Boss OC-2 (*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Boss OC-2 is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

"A phaser is an electronic sound processor used to filter a signal by creating a series of peaks and troughs in the frequency spectrum. The position of the peaks and troughs is typically modulated so that they vary over time, creating a sweeping effect. For this purpose, phasers usually include a low-frequency oscillator." Wikipedia

*Unofficial documentation

source: http://en.wikipedia.org/wiki/Phaser_%28effect%29

The RangeMaster is modeled after the The Dallas RangeMaster Treble Booster© ().

The Dallas RangeMaster Treble Booster© (*) was an effect unit made for guitarists in the 1960’s. It was originally made for two things: to increase the signal strength of the guitar going into the amplifier, and to boost the higher notes.

With the original pedal only having one knob to set the amount of boost, this pedal also has a mix knob to set the dry/wet mix.

Features: Modeled by Guitarix (*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Dallas RangeMaster Treble Booster© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

The Vibro Chump is a guitar-amp simulator, inspired by vintage Fender amplifiers. In similar fashion to the original amplifiers from that brand and era, the Vibro Chump sports a "Vibrato" control, which does not actually pitch-shift the sound, but instead, sounds like a really warm tremolo. Does not include cabinet simulation, best used in conjunction with the GxCabinet plugin.

Features: Modeled by Guitarix

The GxReverb-Stereo is a simple, straight-forward reverb featuring LFO and MODE controls.

Features: Modeled by Guitarix

This plugin simulates the sound of a room.

Features: Modeled by Guitarix

The Gx Screaming Bird is modeled after the Electro-Harmonix Screaming Bird treble booster ()

Do your solos get lost in the mix? Boost your way to the top! Rather then turning up the volume, the ScreamingBird might be just what you need. The ScreamingBird treble booster is meant for boosting the high frequencies of your guitar signal while also adding a tiny bit of distortion to the sound.

It became most popular in the 1960’s when mostly used to overdrive the dark sounding British tube amps. Since then, it has been used by a variety of musicians such as Eric Claption, Tony Iommi, Ritchie Blackmore, Brian May and Marc Bolan.

A really straightforward pedal with only one knob. Simply set it to the desired amount of boost and you are good to go.

Features: Modeled by the Guitarix Based on the classic Electro-Harmonix Screaming Bird(*)

() 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Electro-Harmonix Screaming Bird is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

The SD-2 Lead is modeled after the The BOSS SD-2(*).

The Boss SD-2(*) is a pedal that, just as the DS-1, gained a lot of popularity. From a nice subtle natural overdrive to a more distortion-like sound, the SD-2 hits the spot. With the drive knob turned down, it is even usable as a clean boost.

Features:

Modeled by the Guitarix team

Based on the BOSS SD-2(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD.

The BOSS SD-2 is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.’

The GxShimmizita provides several reverb flavors of the shimmer type. It does so by being part pitch-shifter and part convolution-reverb.

Expect strange sounds as if from outer space, drifting reverbs and arpeggiator-like pitch runs. On more mild settings it can function as a straightforward reverb that works especially well on guitar and synthesizers.

The Pitch Shift control determines how much the pitch will be shifted up or down. This pitch can be modulated by an LFO, an envelope or a blend of both. Use the Mod Source control to select this blend and use the LFO Speed and Env Time parameters to set the rate of modulation.

The reverb tone can be controlled by Freq Low and Freq High. The individual high and low components have their own Decay parameters. The Mix control sets the blend between the dry signal and the fully processed signal.

Features: Modeled by Guitarix

GxSlowGear is inspired by the classic Boss Slow Gear guitar pedal© (), which provides you with volume swells, based on your playing dynamics. Although originally intended for use with a guitar, the pedal was also widely used with synthesizers, electric pianos, and many other instruments.

Features: Modeled by Guitarix () “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Boss Slow Gear© is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

The GxSuperSonic is a guitar tube amplifier simulator plugin based on the Rickenbacker M-16 Supersonic® ().The Supersonic was produced in the 1960s as an answer to Fender’s popular Bassman® (*) amplifiers and was used by artists such as Jim Reeves. This is the perfect amplifier plugin for powerful clean tones, but the input gain can be pushed to get access to some smooth and creamy overdrive tones as well.While the original is a combo amplifier, this plugin does not emulate the speaker cabinet. To complete the signal chain, it is recommended to combine this plugin with the MOD Vintage Cabinets plugin.

Features: Modeled by Guitarix () “Other product names modeled in the software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Rickenbacker M-16 Supersonic® and Fender Bassman® are trademarks or trade names of other manufacturers and were used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.”

The SuppaToneBender is modeled after the The Vox SuppaToneBender(*).

The Vox Suppa Tonebender(*), or as it is also known, the MKIII ToneBender, was the first in a series of tonebenders that offered a tone control. While the pedal still featured a very similar schematic to the Big Muff Pi, the change in internal components gave it its unique sound. The original pedal was first released in 1969 and was discontinued in 1976 due to the decrease of popularity of the germanium components.

Features:

Modeled by the Guitarix team

Based on the Vox Suppa ToneBender(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD.

The Vox Suppa ToneBender is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Combine with the GxMuff to get an Electro-Harmonix Big Muff Pi sound ()

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Electro-Harmonix Big Muff Pi is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Unofficial documentation

Analog wah emulation of the classic Dunlop Crybaby ().

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Dunlop Crybaby is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

*Unofficial documentation

The GxTiltTone is a very simple and effective Tilt Tone control.

A Tilt Tone control is a kind of tone control that is quite rare to come across and most people only know it from the Quad 34 Hi-Fi© (*) pre-amp. Unlike the typical tone control that boosts or cuts only the highs, mids or lows, a Tilt Tone shifts both highs and lows at once. Meaning that turning the Tone knob to the left will boost your bass but also cut your treble.

The Drive is used to set the pre-gain, and when set high enough, it will start to distort. The level control is used for the overall volume of the pedal.

Features: Modeled by Guitarix () “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. QUAD 34 Hi-Fi© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

The GxTimRay is an overdrive plugin based on the Vemuram Jan Ray® () pedal, which is a clone of the Paul Cochrane Timmy® (*) pedal originally designed in 1997. This transparent overdrive was designed to add some extra boost while allowing the natural dynamics of your amp to come through. Its bass and treble knobs allow you to cut undesired frequencies, making the GxTimRay a uniquely clean-sounding distortion that is free of that typical midrange-bump recognizable in most pedals of that type.

Features: Modeled by Guitarix () ”Other product names modeled in the software trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Vemuram Jan Ray® and Paul Cochrane Timmy® are trademarks or trade names of other manufacturers and were used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.”

Analogous simulation of the () Tone Machine Pedal as LV2 plugin

(*) Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with this simulation. is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.

Model of a vactrol tremolo unit by "transmogrify" ** c.f. http://sourceforge.net/apps/phpbb/guitarix/viewtopic.php?f=7&t=44&p=233&hilit=transmogrifox#p233 ** http://transmogrifox.webs.com/vactrol.m

Unofficial documentation

The GxTubeScreamer is an analog distortion emulation of the classic Ibanez TS-9© ().

First released in 1982 this is a real classic among all musicians. The pedal mimics the sound of a vintage tube amplifier, and has a characteristic mid-boosted tone which is popular amongst blues and rock players. The legendary Tube Screamer has been used by countless guitarists to create their signature sound, and is one of the most successful, widely copied and "modded" overdrive pedals in the history of the electric guitar.

It has a drive knob, a tone knob, and a level knob. The drive knob adjusts gain, the tone knob adjusts treble and the level knob adjusts the output volume of the pedal.

Features: Modeled by Guitarix (*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Ibanez TS-9© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

Model of a vactrol tremolo unit by "transmogrify" c.f. http://sourceforge.net/apps/phpbb/guitarix/viewtopic.php?f=7&t=44&p=233&hilit=transmogrifox#p233 http://transmogrifox.webs.com/vactrol.m

*Unofficial documentation

Attempt at a true vibrato And it works well! Sounds very sweet with tubes wrapped

Unofficial documentation

Analog simulation of the UniVox () 720k solid state amp as LV2 plugin.

() 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with this simulation. UniVox is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Analog Simulation of the 1984 () Vox Venue Bass 100 Pre Amp Section.

() Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with this simulation. Vox is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.

The GxVintageFuzz is an analogue simulation of the Vintage Fuzz Master© (Devi Ever) (). This one comes with a bass/bright switch and is slightly modified to produce less volume then the original pedal. Tweak the "intensity" knob down to blow up the low end, and up to produce the well known and loved octave up artifacts.

Features: Modeled by Guitarix () “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Vintage Fuzz Master© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

Analogue simulation impressed by the Vox () MkII Conqueror Preamp.

() Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with this simulation. Vox is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.

simulation impressed by the Voodoo Lab () SuperFuzz pedal. It's basically a Bosstone circuite, followed by the tone control of the FoxToneMachine in parralel with a DarkBooster, finaly ended in a Volume control.

() Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with this simulation. Voodoo Lab is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.

Analog distortion emulation of the classic Vox Tone Bender()

The Vox Suppa Tonebender(*), or as it is also known, the MKIII ToneBender, was the first in a series of tonebenders that offered a tone control. While the pedal still featured a very similar schematic to the Big Muff Pi, the change in internal components gave it its unique sound. The original pedal was first released in 1969 and was discontinued in 1976 due to the decrease of popularity of the germanium components.

Features: Modeled by the Guitarix Based on the Vox Suppa ToneBender(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Vox Suppa ToneBender is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

Unofficial documentation

Analog wah emulation of the classic Dunlop Crybaby ().

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Dunlop Crybaby is trademark or trade name of other manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

*Unofficial documentation

Harmless is a waveshapeable harmonic tremolo with a stereo phase control.

Features: Modeled by SHIRO

The Harmonizer is a (relatively) simple harmonizer plugin that allows you to set the scale to either Major, Minor, or Minor Harmonic, and then shift up a +3rd or +6th, or down a -3rd or -6th in that scale. As with nearly all harmonizers, you will have to play in the correct key (which can also be configured).

Features: Modeled by MOD Devices

It’s a 2-voice harmonizer plugin that allows you to set the scale() to either Major, Minor, or Minor Harmonic, and then shift anywhere between down an -8th and up an +8th in that scale. Like with nearly all harmonizers, you will have to play in the correct key (which can also be configured).

The “Mode” switch has three settings, in the first setting, it will mute the harmonized note when playing outside the scale. In the second setting, it will play the harmonized note, regardless of whether it is within the scale or not. In the third (“Bend”) setting, it behaves like the second setting, while also allowing you to bend notes, allowing for smooth transitions between harmonized notes.

All plugins in the MOD-pitchshifter family have an option to set the fidelity of the plugin. As you lower the fidelity, the sound will become less pristine, but the plugin will also use less processing. The opposite holds true for increasing the fidelity, this will grant you a clearer pitch-shifted signal at the cost of significantly more processing being used.

*The Lo-Fi setting is reminiscent of bit-crushed sounds, if you are looking for those synthesizer-like basslines, or dirty octave-up sounds, this is your setting! *The Hi-Fi setting is great if you are looking to emulate (for example) something like a 12-string guitar, be sure to mind that CPU-meter in the bottom-right of the screen though! *The settings in between are created to let you make the perfect trade-off between quality and performance.

A hint for making the right decision: the more you shift the pitch up, the higher you will need to set the Fidelity to get a clear sound.

(*) The scale can be set by pressing the gear at the top-right corner of the plugin, in a future release, the interface will support doing this without entering the settings.

It’s a custom-scale harmonizer plugin that allows you to create your own scale by moving up and down the sliders. With the slider all the way up, the harmonizer will shift the pitch up by +12 semitones. With the slider all the way down, the harmonizer will shift the pitch down by -12 semitones. Like with nearly all harmonizers, you will have to play in the correct key (which can also be configured).

All plugins in the MOD-pitchshifter family have an option to set the fidelity of the plugin. As you lower the fidelity, the sound will become less pristine, but the plugin will also use less processing. The opposite holds true for increasing the fidelity, this will grant you a clearer pitch-shifted signal at the cost of significantly more processing being used.

*The Lo-Fi setting is reminiscent of bit-crushed sounds, if you are looking for those synthesizer-like basslines, or dirty octave-up sounds, this is your setting! *The Hi-Fi setting is great if you are looking to emulate (for example) something like a 12-string guitar, be sure to mind that CPU-meter in the bottom-right of the screen though! *The settings in between are created to let you make the perfect trade-off between quality and performance.

A hint for making the right decision: the more you shift the pitch up, the higher you will need to set the Fidelity to get a clear sound.

A simple high pass filter, "Freq" determines its cutoff frequency and "Order" the filter order, or how fast frequencies above the cutoff frequency will decay. Higher the order, faster the decay.

Features: Modeled by MOD Devices

The Invada Compressor is a very easy to use, high-quality relaxed compressor that features 6 knobs and a high level of controllability.

A compressor reduces the level of an audio signal if its amplitude exceeds the set threshold. The gain reduction is determined by the ratio: a ratio of 4:1 means that if the input level is 4dB over the threshold, the output signal is 1dB over the threshold.

The ‘Attack’ controls how quickly the compressor starts to act. the ‘Release’ is the period when the compressor gradually stops acting. The Knee controls whether the bend in the response curve between below threshold and above threshold is abrupt (hard) or graduated (soft).

Features: Modeled by Invada

The Invada Compressor is a very easy to use, high-quality relaxed compressor that features 6 knobs and a high level of controllability.

A compressor reduces the level of an audio signal if its amplitude exceeds the set threshold. The gain reduction is determined by the ratio: a ratio of 4:1 means that if the input level is 4dB over the threshold, the output signal is 1dB over the threshold.

The ‘Attack’ controls how quickly the compressor starts to act. the ‘Release’ is the period when the compressor gradually stops acting. The Knee controls whether the bend in the response curve between below threshold and above threshold is abrupt (hard) or graduated (soft).

Features: Modeled by Invada

The Delay Munge is a unique delay pedal that is great for ambient sounds. The Munge effect sets this pedal apart from the rest of the delay pedal family. It alters the shape and feel of each repetition caused by the delay effect. This can be controlled by changing the values of the LFO and Munge knobs and offers a lot of authenticity and dynamics to a sound.

Features: Modeled by Invada

The Delay Munge is a unique delay pedal that is great for ambient sounds. The Munge effect sets this pedal apart from the rest of the delay pedal family. It alters the shape and feel of each repetition caused by the delay effect. This can be controlled by changing the values of the LFO and Munge knobs and offers a lot of authenticity and dynamics to a sound.

Features: Modeled by Invada

The Sphaser features unique controls such as Phase Offset and a very long oscillation which makes it a go-to pedal for authentic phase effects.

Features: Modeled by Invada

This is the stereo version of the Sphaser effect. The Sphaser features unique controls such as Phase Offset and a very long oscillation which makes it a go-to pedal for authentic phase effects.

Features: Modeled by Invada

This version of the Sphaser effect pedal sums up the two inputs. The Sphaser features unique controls such as Phase Offset and a very long oscillation which makes it a go-to pedal for authentic phase effects.

Features: Modeled by Invada

A cabinet simulator plugin that loads impulse response (IR) files.

In order for your personal IR files to show up in the list of available files for this plugin, please place the files in the “Speaker Cabinet IRs” folder of your device.

This plugin is specifically created for handling speaker cabinet IRs, this plugin is not optimized for handling larger files like reverb IRs.

Currently it only uses the first 42.7 ms (2048 samples at 48 kHz sampling rate) of the loaded IR file. IR files at different sample rates are resampled to 48 kHz by the plugin. It is recommended to trim any silence at the start of the IR file for optimal results.

Features: Plugin by MOD Devices Default IR file by forward audio

Attempts to strip the vocals from a stereo signal.

OpenAV Kuiza is a four-band EQ with low, low-mid, hi-mid, high and an overall gain control.

Features: Modeled by openAV

The Larynx is a simple, great sounding vibrato effect with a tone control. The Depth knob controls the intensity of the modulation effect and Rate changes the modulation frequency.

Features: Modeled by SHIRO

The x42 Level Meter is a numeric audio signal level meter with a 15dB/sec falloff rate. You can use it to analyse the level of an audio signal by keeping an eye on the RMS, Peak and Hold values. Hold stores the highest Peak level that has been measured. There is a Reset control which resets the Hold value. It is particularly useful for inspecting your signal chain at multiple points, to understand more about what signal levels work best for particular plugins.

The MOD CV Logic Operators is a CV plugin that can do all the common logic operations. The included operators are; INV, NAND, AND, OR, NOR, XOR and XNOR. If the outcome is false the plugin outputs 0v, if true it outputs 10v.

The threshold value that is used to determine if an incoming signal is true or false can be adjusted with the switchpoint parameter.

Lastly, there is the hysteresis parameter. This parameter can be used to create a different switchpoint for true and false. For example when the switchpoint parameter is set to 5v and the hysteresis parameter is set to 2v, the switch point for true will be at 6v and the switchpoint for false will be at 4v.

Features: Plugin by MOD Devices

Looper plugin for LV2, specifically for the Mod Devices pedal board.

Usage:

• Adjust the "Threshold" to only start recording once playing has started. If set to the lowest value, recording will start immediately. Otherwise it will start recording when the first sound comes in. The threshold can be used to filter out noise.
• Adjust the "Dry Amount" to reduce the volume of the input signal directly routed to the output. Setting it to 0 means you will only hear any looped sounds, no direct sound.
• Press the "Activate" button to start recording the first dub. Press again to stop recording. The first dub's length will define the length of all loops. Recording of all but the first dubs will stop when the loop length is reached. There is one exception: When the threshold is configured and no audio was recorded yet, then recording will not stop at the end of the loop.
• Double press the "Activate" button to reset the looper, clearing all loops.
• Press the "Undo" button to go back one dub. Undoing the first dub will also stop playing.
• Press the "Redo" button to redo a dub. Redoing is possible as many times as undo was used before. Redoing the first dub will start playing again. Redoing is no longer possible when the next dub record is started! This will invalidate all undone dubs!
• Press the "Reset" button to stop recording if it is recording. Otherwise do the same as the "Undo" button.
• Double press the "Reset" button to reset the looper, clearing all loops.
• Press the "Dub" button to start recording a dub. When pressed while recording, the last dub is finished and immediately it starts a new one.
• Double press the "Dub" button to reset the looper, clearing all loops.
• Note that any of those buttons can be assigned to the hardware buttons of the Mod board! Thus you can select which functionality you need.
• The parameter Continuous Dub controls if after the first dub recording continuous. The default is off, but with the on setting it behaves like most other loopers.

A simple low pass filter, "Freq" determines its cutoff frequency and "Order" the filter order, or how fast frequencies above the cutoff frequency will decay. Higher the order, faster the decay.

Features: Modeled by MOD Devices

This plugin performs highly optimized real time zero-latency convolution to the input signal. It can be used as a cabinet emulator, some sort of equalizer or as a reverb simulation plugin. All what is needed is audio file with impulse response taken from the linear system (cabinet, equalizer or hall/room).

This plugin performs highly optimized real time zero-latency convolution to the input signal. It can be used as a cabinet emulator, some sort of equalizer or as a reverb simulation plugin. All what is needed is audio file with impulse response taken from the linear system (cabinet, equalizer or hall/room).

Luftikus is a digital adaptation of an analog EQ with fixed half-octave bands and additional high frequency boost. As an improvement to the hardware it allows deeper cuts and supports a keep-gain mode where overall gain changes are avoided.

Features

Hardware-modeled EQ.

• 10, 40, 160 & 640 Hz bands.
• 2.5 kHz shelf.
• Optional boost-only shelf at 2.5, 5, 10, 20 or 40 kHz.
• Mastering and analog modes.
• "Keep-Gain" option to avoid drastic overall gain changes when EQing.
• Output trim to adjust gain.
• Improved design to allow deeper cuts.

Luftikus is based on JUCE and open source (MIT licensed)

The Ambience aims to emulate the sonic properties of a room. By tweaking the damping or roomsize controls, add some texture and reverb to your sound.

Features: Modeled by MDA

This plug is like MultiBand but uses 3 bands of clipping instead of compression. This is unlikely to be a plug you use every day, but when you want to recreate the sound of torn bass-bins you know where to come!

Contains three samples (kick, snare and hat) designed to be triggered by incoming audio in three frequency ranges. The default samples are based on the Roland CR-78.

To record your own sounds, use the Record control to monitor the plug's input, then with the source stopped select the slot to record into, play your sound, then with the source stopped again, switch back to monitoring. This process is easier in an 'off line' editor such as WaveLab, rather than during a live mixdown in a DAW.

This plug-in can sound quite subtle but comes alive when used on guitar with the drive turned up! Remember that distortion may not sound good on time-based effects such as delay and reverb, so put those effects after this plug, or after a separate distortion plug with Combo acting only as a speaker simulator.

Reduce excessive sibilants (/s/ /t/ /sh/ etc.) in vocals and speech.

For stronger de-essing you may want to use two plug-ins in series, or apply processing twice.

The MDA Degrade is a signal degrader with extensive controls. Use Quantize for bitcrushing, Rate for sample rate reduction and Integrator to reduce aliasing. Use Non-Lin to add non-linear distortion to the signal, set Headroom to configure when the non-linear behavior starts to occur and use Evenodd to choose between even or odd harmonics. Finally, use Post Filter to clean up the high frequency artifacts in the signal.

Features: Modeled by MDA

The Detune is a low-quality stereo pitch shifter. It can be used for the sort of detune effects found on multi-effects. It will create a widening effect but wont ‘swoosh’ like a chorus. This effect was very popular in the 80’s with bands such as Boston and Judas Priest, but Ozzy Osbourne is also known for using detuning on his vocals.

Features: Modeled by MDA

When a waveform is rounded to the nearest 16 (or whatever)-bit value this causes distortion. Dither allows you to exchange this rough sounding signal-dependant distortion for a smooth background hiss.

Some sort of dither should always be used when reducing the word length of digital audio, such as from 24-bit to 16-bit. In many cases the background noise in a recording will act as dither, but dither will still be required on fades and on very clean recordings such as purely synthetic sources.

Noise shaping makes the background hiss of dither sound quieter, but adds more high-frequency noise than 'ordinary' dither. This high frequency noise can be a problem if a recording is later processed in any way (including gain changes) especially if noise shaping is applied a second time.

If you are producing an absolutely final master at 16 bits or less, use noise shaped dither. In all other situations use a non-noise-shaped dither such as high-pass-triangular. When mastering for MP3 or other compressed formats be aware that noise shaping may take some of the encoder's 'attention' away from the real signal at high frequencies.

No gain changes should be applied after this plug-in. Make sure any master output fader is set to 0.0 dB in the host application.

Very technical note This plug-in follows Steinberg's convention that a signal level of 1.0 corresponds to a 16-bit output of 32768. If your host application does not allow this exact gain setting the effectiveness of dither may be reduced (check for harmonic distortion of a 1 kHz sine wave using a spectrum analyser).

The DubDelay is the go-to pedal for musicians who look for a delay pedal that adds something special to their sound. The unique features of the DubDelay are its LFO and Pitch effect, and the modulation it creates. Perfect for clean sounds where you would want to add a vibrato-like effect to the mix. Or change the Pitch to create sounds you have never heard before.

Features: Modeled by MDA

The DX10 is inspired by the later Yamaha DX© () synthesizers which are some of the most popular digital synths in the world. This generator, however, was tweaked a bit to give it a warmer cleaner tone. It is 8-voice polyphonic and has a wide variety of sounds and presets. Some of these are bound to give you flashbacks to the 80’s where the DX series really shined!

Features: Modeled by MDA N.B. The carrier operator has a fixed coarse tuning ratio of 2. () “Other product names modeled in the software trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Yamaha DX© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of the product. All other trademarks are the property of their respective holders.”

The ePiano is based around 12 carefully sampled and mastered Rhodes© Piano () samples. Rhodes© Pianos are electrical instruments that were designed in the 40’s but only became popular in the 70’s. Instead of using strings to produce sound, it uses tin metal tines which are then amplified through an electrical pickup.

The modulation parameter is used to set the modulation depth and the modulation mode. If the modulation control is set to a negative value the LFO will be modulating panning. If it's set to a positive value it will modulate the volume, resulting in a classic tremolo effect.

Features: Modeled by MDA (*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. Rhodes© Pianos are a trademark or trade name of another manufacturer and were used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

Allows the level and pan of mono and stereo components to be adjusted separately, or components to be separated for individual processing before recombining with a second Image plug-in.

The JX10 is a polyphonic synthesizer with high-quality output and lot of options to modulate the filter. This can be done with both the envelope and/or the LFO. Due to all its controls, this synthesizer gives you flexibility to create a vast variety of sounds. Or just to find some kick-ass tones among the presets.

Features: Modeled by MDA

The ear is less sensitive to low frequencies when listening at low volume. This plug-in is based on the Stevens-Davis equal loudness contours and allows the bass level to be adjusted to simulate or correct for this effect.

Example uses:

If a mix was made with a very low or very high monitoring level, the amount of bass can sound wrong at a normal monitoring level. Use Loudness to adjust the bass content. Check how a mix would sound at a much louder level by decreasing Loudness. (although the non-linear behaviour of the ear at very high levels is not simulated by this plug-in).

Fade out without the sound becoming "tinny" by activating Link and using Loudness to adjust the level without affecting the tonal balance.

As well as just "squashing everything" this plug-in can be used to "overcook" the mid-frequencies while leaving the low end unprocessed, enhancing playback over small speakers without affecting the overall sound too much.

To give more control when mastering (and to offer something different from other dynamics processors) in Mono mode this plug does not compress any stereo information, but in Stereo mode only the stereo component is processed giving control over ambience and space with a similar sound to strereo "shufflers" - but be careful with the levels! The stereo width control works as a "mono depth" control in Stereo mode.

The Overdrive effect has a variety of sonic possibilities: adding body to drum loops, fuzz guitar, as well as that typical muffled “standing outside of a nightclub” sound. A simple, straight-forward yet versatile tool.

Features: Modeled by MDA

The MDA Piano generates a variety of piano sounds. It was designed for a very low CPU usage. Tweak the sound to fit to your personal needs, or check out the presets. There is a bunch of cool stuff in there.

Features: Modeled by MDA

The RePsycho is an event-based pitch shifter. It chops audio into individual beats and shifts each beat upwards in pitch. Only allowing downwards pitch shifting helps to keep the timing very tight, and depending on the complexity, whole rhythm sections can be shifted.

Features: Modeled by MDA

The Ringmod is a ring modulator with frequency, fine tune and feedback controls.

Features: Modeled by MOD Devices

The MDA Shepard is a risset-tone generator. Use it to generate an endlessly rising or falling tone and build tension like never before. The Mode parameter has options for just hearing the tone, ring modulating the input with the tone, or mixing the input with the tone.

Features: Modeled by MDA

This plug-in can split a signal based on frequency or level, for example for producing dynamic effects where only loud drum hits are sent to a reverb. Other functions include a simple "spectral gate" in INVERSE mode and a conventional gate and filter for separating drum sounds in NORMAL mode.

All the bass you could ever want! With the MDA SubSynth you’ll produce/filter harmonics, flip phase, add a smooth sub-octave, use it as an octave divider and more. Be aware that you may be adding low frequency content outside of the range of your monitor speakers. To avoid clipping, follow up with a limiter plug-in.

Features: Modeled by MDA

Tape flanger and ADT

This plug simulates tape-flanging, where two copies of a signal cancel out completely as the tapes pass each other. It can also be used for other "modulated delay" effects such as phasing and simple chorusing.

This plug-in produces a voice-like signal on the right channel to be used as a carrier signal with vocoder and other vocoder plug-ins. The input signal passes through on the left channel.

This 16-band vocoder applies the spectrum of your voice to the waveform of an instrument. Plug your voice signal into the Modulator input and the instrument into the Carrier input. The modulator and carrier inputs will be split into a series of frequency-bands that are modifiable with the vocoder. After that, each carrier band will be modulated and added at the end. This vocoder also features an adjustable envelope and output level.

Features: Modeled by MDA

MetalTone is modeled after the renowned BOSS MT-2 Metal Zone(), a high gain distortion pedal with an advanced EQ section.

It has standard active EQ controls with a massive 15dB of cut/boost range for the lows and highs. It also sports a parametric active EQ for the mids with two controls: the frequency, and the boost/cut amount.

The midfreq parameter has a very wide range, going from 200Hz all the way to 5kHz. As a result, it's better to think of it simply as a single highly flexible active EQ, and disregard the idea that it's only for shaping the mids.

Features: Modeled by Brummer Based on the BOSS MT-2 Metal Zone(*)

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. BOSS MT-2 Metal Zone is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.'

MIDI CC Map enables you to change one control message into another. Combined with MIDI Scale CC Value, it allows you to modify/scale the actual value.

Features: Modeled by x42

MIDI CC to Note enables you to convert MIDI control change messages to note-on/off messages. Note off is queued 10 msec later.

Features: Modeled by x42

MIDI channel filter. Only data for selected channel shall pass. This filter only affects midi-data which is channel relevant (ie note-on/off, control and program changes, key and channel pressure and pitch bend). MIDI-SYSEX and Realtime message are always passed on.

Features: Modeled by x42

MIDI Channel Map enables you to rewrite midi-channel numbers. This filter only affects midi-data which is channel relevant (ie note-on/off, control and program changes, key and channel pressure and pitch bend). MIDI-SYSEX and Realtime message are always passed thru unmodified.

Features: Modeled by x42

MIDI Channel Filter Unisono enables you to duplicate MIDI events from one channel to another.

Features: Modeled by x42

This harmonizer creates chords from a single (fundamental) note in a given musical scale. The scale as well as intervals can be automated freely (currently held chords will change). Note-ons are latched, for multiple/combined chords only single note-on/off will be triggered for the duration of the combined chords. If a off-scale note is given, it will be passed through - no chord is allocated.

Features: Modeled by x42

A chromatic transpose of midi notes and key-pressure. If an inversion point is set, the scale is mirrored around this point before transposing. Notes that end up outside the valid range 0..127 are discarded.

Features: Modeled by x42

A MIDI clock generator with optional host transport synchronization.

Features: Modeled by x42

MIDI Delayline enables you to delay all MIDI events by a given time which is shown as BPM and beats. If the delay includes a random factor, this effect takes care of always keeping note on/off events sequential regardless of the randomization.

Features: Modeled by x42

MIDI Duplicate Blocker enables you to filter out overlapping notes on/off and duplicate messages.

Features: Modeled by x42

MIDI Enforce Scale enables you to filter note-on/off events depending on musical scale. If the key is changed note-off events of are sent for all active off-key notes.

Features: Modeled by x42

MIDI Event Filter is a notch style message filter. It enables you to suppress specific messages. For flexible note-on/off range see also 'keyrange' and 'velocityrange'.

Features: Modeled by x42

This is a simple MIDI file player plugin.

Just upload some files in the MOD file manager section (specifically MIDI songs) and load up the plugin. Transport is rolling as long as the plugin is enabled and a file is selected. You can also sync to host transport, so the player follows host start/stop controls. When repeat mode is enabled, the player will restart playback from the beginning after playing the last MIDI event on the file.

Note that MIDI time is converted to wall-clock time, not beats or ticks. This means the file is played exactly as it was made (as if in "song mode"). This ignores host BPM, as the plugin is intended to play full MIDI songs and not MIDI clips.

A MIDI generator that plays fixed, predefined sequences. Select your key and play around with the BPM.

Features: Modeled by x42

MIDI Key Range Filter lets you define a range of allowed midi notes. Notes-on/off events outside the allowed range are discarded. If the range changes, note-off events are sent to currently active notes that end up outside the valid range.

Features: Modeled by x42

MIDI Keysplit enables you to change midi-channel number depending on note. The plugin keeps track of transposed midi-notes and sends note-off events accordingly if the range is changed even if a note is active.

Features: Modeled by x42

MIDI Monophonic Legato allows you to hold a note until the next one arrives. In order to switch it off, replay the same note again.

Features: Modeled by x42

MIDI N-Tap Delay repeats notes N times, where N is either a fixed number or unlimited as long as a given key is pressed. BPM and delay-time variable allows tempo-ramps. On every repeat the given velocity-adjustment is added or subtracted, the result is clamped between 1 and 127.

Features: Modeled by x42

MIDI Note to CC allows you to convert only MIDI note-on messages to control change messages (ignored in toggle mode).

Features: Modeled by x42

With MIDI Note Toggle, play a note to turn it on and play it again to turn it off.

Features: Modeled by x42

MIDI Note Transpose is a flexible 12-tone map which allows you to map a note within an octave to another note in the same octave-range +- 12 semitones. Alternatively, notes can also be disabled. The settings can be changed dynamically: Note-on/off events will be sent accordingly.

Features: Modeled by x42

A 12-tone channel map which allows you to change midi-channel per note.

Features: Modeled by x42

Live event quantization. This filter aligns incoming MIDI events to a fixed time-grid. Since the effect operates on a live-stream, it will introduce latency: events will be delayed until the next 'tick'.

Features: Modeled by x42

A filter made to block all active sensing events. Active sensing messages are optional MIDI messages intended to be sent repeatedly to tell a receiver that a connection is alive, however they can clutter up the MIDI channel or be inadvertently recorded when dumping raw MIDI data to disk.

Features: Modeled by x42

MIDI Scale CC Value enables you to modify the value (data-byte) of a MIDI control change message.

Features: Modeled by x42

Simple MIDI channel filter. Only data for selected channels may pass. This filter only affects midi-data which is channel relevant (ie note-on/off, control and program changes, key and channel pressure and pitchbend). MIDI-SYSEX and Realtime message are always passed on. See also 'MIDI Channel Map' filter.

Features: Modeled by x42

MIDI Sostenuto delays note-off messages by a given time, emulating a piano sostenuto pedal. When the pedal is released, note-off messages that are queued will be sent immediately.

Features: Modeled by x42

A simple step sequencer. It allows to trigger MIDI note events placed on a time/note grid. The Step-duration is configurable to musical time and can optionally be modulated for a swing-time effect. This plugin version contains 16 notes and 8 steps.

Features: Modeled by x42

A simple step sequencer. It allows to trigger MIDI note events placed on a time/note grid. The Step-duration is configurable to musical time and can optionally be modulated for a swing-time effect. This plugin version contains 32 notes and 8 steps.

Features: Modeled by x42

A simple step sequencer. It allows to trigger MIDI note events placed on a time/note grid. The Step-duration is configurable to musical time and can optionally be modulated for a swing-time effect. This plugin version contains 16 notes and 8 steps. Also available in 8x8 and 8x4 versions.

Features: Modeled by x42

A simple step sequencer. It allows to trigger MIDI note events placed on a time/note grid. The Step-duration is configurable to musical time and can optionally be modulated for a swing-time effect. This plugin version contains 8 notes and 4 steps. Also available in 8x8 and 8x4 versions.

Features: Modeled by x42

A simple step sequencer. It allows to trigger MIDI note events placed on a time/note grid. The Step-duration is configurable to musical time and can optionally be modulated for a swing-time effect. This plugin version contains 8 notes and 8 steps.

Features: Modeled by x42

A midi arpeggio effect intended to simulate strumming a stringed instrument (e.g. guitar). A chord is 'collected' and the single notes of the chord are played back, spread out over time. The 'Note Collect Timeout' allows for the effect to be played live with midi-keyboard.

Features: Modeled by x42

The SwitchBox 1-2 allows you to route the MIDI input to one of the two MIDI outputs of the plugin.

Switch the routing on the fly by mapping the target control.

Features: Modeled by MOD Devices

The SwitchBox 1-2 2C allows you to route the dual MIDI input to one of the two dual MIDI outputs of the plugin.

Switch the routing on the fly by mapping the target control.

Features: Modeled by MOD Devices

The SwitchBox 1-3 allows you to route the MIDI input to one of the three MIDI outputs of the plugin.

Switch the routing on the fly by mapping the target control.

Features: Modeled by MOD Devices

The MIDI SwitchBox 2-1 allows you to route one of the two MIDI inputs to the single MIDI output of the plugin.

Switch the routing on the fly by mapping the source control.

Features: Modeled by MOD Devices

The SwitchBox 2-1 2C allows you to route one of the dual MIDI outputs to the dual MIDI output of the plugin.

Switch the routing on the fly by mapping the source control.

Features: Modeled by MOD Devices

The MIDI SwitchBox 3-1 allows you to route one of the three MIDI inputs to the single MIDI output of the plugin.

Switch the routing on the fly by mapping the source control.

Features: Modeled by MOD Devices

A MIDI Timecode generator with optional host transport synchronization.

Features: Modeled by x42

MIDI to CV mono converts a midi message to monophonic control voltage, 1/12 volt per note. It also features a retrigger knob, which retriggers the gate when it switches back to a previous voice that is still active. This is particularly useful when combined with short envelopes.

Features: Plugin by MOD Devices

MIDI to CV poly enables you to convert a midi message to polyphonic control voltages, 1/12 volt per note.

Features: Plugin by MOD Devices

With MIDI Velocity Adjust, change the velocity of note events with separate controls for Note-on and Note-off. The input range 1 - 127 is mapped to the range between Min and Max. If Min is greater than Max, the range is reversed. The offsets value is added to the velocity event after mapping the Min/Max range.

Features: Modeled by x42

MIDI Velocity Randomization lets you randomize the velocity of MIDI notes (both note on and note off).

Features: Modeled by x42

MIDI Velocity-Range Filter will filter MIDI note-on events according to velocity. Note-on events outside the allowed range are discarded. If a Note-off is received for a note that was previously filtered, it is also not passed though.

Features: Modeled by x42

The MOD Mixer is an audio mixer with 4 mono channels. Each channel has a Volume, Pan, Mute and Alt parameter.

In addition to the main output pair there is also an alternative output pair. When the Alt parameter is enabled on a channel, that channel is no longer sent to the main outputs, but instead is sent to the alternative outputs.

Features: Plugin by MOD Devices

The MOD Mixer Stereo is an audio mixer with 4 stereo channels. Each channel has a Volume, Pan, Mute and Alt parameter.

In addition to the main output pair there is also an alternative output pair. When the Alt parameter is enabled on a channel, that channel is no longer sent to the main outputs, but instead is sent to the alternative outputs.

When the True Panning parameter is enabled the Pan parameters won't work as a balance between the L en R channel but as a direction control (e.g., when the pan parameter is turned to the left both the L and R channel are on the left speaker).

Features: Plugin by MOD Devices

The Modulay is a delay with various types of modulation. Experiment by playing around with the Morph knob to get unprecedented results.

Features: Modeled by Shiro

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

Based on the voltage controlled highpass filter by Robert Moog, with some attention to the nonlinear effects. This is quite different from the lowpass filters. When you 'overdrive' the filter, the cutoff frequency will rise. This first version is really very experimental.

Features: Modeled by FOMP

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

A fairly simple design which does not even pretend to come close the 'real thing'. It uses a very crude approximation of the non-linear resistor in the first filter section only. Retained in this distribution because it's a cheap (in terms of CPU usage) general purpose 24 dB/oct lowpass filter that could be useful.

Features: Modeled by FOMP

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

Uses five non-linear elements, in the input and in all four filter sections. It works by using the derivative of the nonlinearity (for which 1 / (1 + x * x) is reasonable approximation). The main advantage of this is that only one evaluation of the non-linear function is required for each section. The four variables that contain the filter state (c1...c4) represent not the voltage on the capacitors (as in the first filter) but the current flowing in the resistive part.

Features: Modeled by FOMP

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

Based on variant 2, with two differences. It uses the the technique described by Stilson and Smith to extend the constant-Q range, and the internal sample frequency is doubled, giving a better approximation to the non-linear behaviour at high freqencies. This variant has high Q over the entire frequency range and will oscillate up to above 10 kHz, while the two others show a decreasing Q at high frequencies. This filter is reasonably well tuned, and can be 'played' as a VCO up to at least 5 kHz.

Features: Modeled by FOMP

Fomp is an LV2 port of the MCP, VCO, FIL, and WAH plugins by Fons Adriaensen.

The same as variant 3, but adds a selection of 0, 6, 12, 18 or 24 db/oct output.

Features: Modeled by FOMP

MrFreeze is an audio effect that provides an infinite sustain pedal for any tonal sound in a way similar as the Electro Harmonix Freeze pedal().

• The "Freeze" Toggle activate the sustain.
• "Freeze Gain" and "Dry Gain" are self explanatory.
• "Fade In" corresponds to the speed with which the sustained sound appears.

(*) 'Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with the MrFreeze Developers. Electro Harmonix Freeze is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product.

Mud is a dark and dirty modulation/filter effect. It is particularly useful to fans of grittier, more lo-fi sounds, but it is capable of interesting univibe-style modulation too.

MIX blends between the dry and processed signal, FILTER sets a combination of bandpass filter frequency and resonance and LFO sets a combination of speed and depth for the effect, with the left side being deep and the right side being mellow.

Features: Plugin by remaincalm

This is an implementation of a Multivoice (as opposed to Multiscale) chorus algorithm. Its uses a novel, sinc based noise interpolation method to produce a subtle modulation law which makes it possible to get away with larger numbers of voices without the metallic, artificial sound common in chorus effects.

The Nekobi generator is based on the legendary Roland TB-303© (). This polemic bass-synthesizer got quite some critiques in its early days. Soon the public realised its incredible fit to trance, house and EDM music like no other device at the time. Loyal to its inspiration, the Nekobi is a monophonic synthesizer, which means only one note can be played at a time.

Features: Modeled by FalkTX & Sean Bolton

(*) “Other product names modeled in this software are trademarks of their respective companies that do not endorse and are not associated or affiliated with MOD. The Roland TB-303© is a trademark or trade name of another manufacturer and was used merely to identify the product whose sound was reviewed in the creation of this product. All other trademarks are the property of their respective holders.”

LV2 plugin for neural network machine learning guitar amplifier simulation models

Models supported: Neural Amp Modeler (NAM): https://github.com/sdatkinson/neural-amp-modeler RTNeural keras/Aida-x models: https://github.com/jatinchowdhury18/RTNeural

A large collection of models is available at https://tonehunt.org

Neural Record, a plug to make the process of cloning external soft/hardware a bit more comfortable.

It features a round trip measurement routine. This allows to load the plug, connect the output to the system output, loop over external gear (soft or hardware) back over the System Input to the Neural Record input.

Simply press "Capture" to play the "input.wav" file to the output and record the returning input delayed by the measured round trip latency.

Resulting recorded "target.wav" file will be perfectly in sync with the used "input.wav" file. Currently, both files would be saved under "/data/user-files/Audio Recordings/profiles/". The "target.wav" file will be overwritten on each capture run, so there will be always only one target file. You need to download it from the device in order to use it with the AIDA-X or the NAM trainer.

The round-trip latency will be measured on each "Capture" start.

The "input.wav" file comes as resource with the plug and get copied over to "/data/user-files/Audio Recordings/profiles/", when no input.wav file was found there. This allows advanced users to use their own input.wav file by simply replace the one in that folder.

The target.wav file get checked during record and run to a normalisation function when needed. (Only when the max peek in target is above the max peek in input).

The record will be saved in the PCM24 wav format (same as the input.wav file).

The UI provide a progress bar, a peek-meter and, well the capture button.

Features: Developed by Brummer

Artificial Latency - nodelay is a simple audio delay-line that can report its delay as latency. The effect should be transparent when used with a LV2 host that implements latency compensation.

The MOD Noise Gate is a streamlined, easy-to-use Noise Gate plugin which can also be found in the MOD Dwarf's and Duox's input processing settings.

There is a parameter to set which channel to apply the noise gate to: none, channel 1, channel 2 or stereo. There is also a threshold parameter, and a decay time parameter. For more in depth control, try the MOD Noise Gate Advanced plugin.

Features: Modeled by VeJa Plugins Plugin by MOD Devices

The MOD Noise Gate Advanced uses the same algorithm as the Noise Gate found in the MOD Dwarf's and Duox's input processing settings.

This advanced version exposes all parameters of the algorithm, and therefore allows for more in depth control. This mono plugin has 2 inputs; the first of which has the gate applied, while the second input opens and closes the gate. The plugin also features a CV output, which indicates if the gate is opened or closed. This signal can be used to modulate other effects. For a more streamlined experience, try the MOD Noise Gate plugin.

Features: Modeled by VeJa Plugins Plugin by MOD Devices