Free music software round-up: Week 124

Four very different free plugins.
Four very different free plugins.

A nicely varied collection of software for you this week, as we bring you audio processors to help add stereo width and get rid of sibilance, a filter and a hybrid synth.

If you've got a new free music software release, make sure you let us know about it by emailing musicradar.pressreleases@futurenet.com with all the details.

Sleepy-Time dsp lisp

Sleepy-Time dsp lisp

Sleepy-Time DSP Lisp

Platform/format: PC/VST Download

This level-independent sibilance processor is said to be a new type of de-esser that offers automatic sibilance detection. It does this by tracking the amplitude and pitch of its input in real time - set the reduction amount and Lisp will work on eliminating those unwanted 'ss', 'the', and 'ch' sounds.

Saltline drzewo liść-step

Saltline drzewo liść-step

Saltline Drzewo Liść-step

Platform/format: PC/VST Download

A simple state-variable filter (low-pass, high-pass, band-pass, band reject) that enables you to control the cutoff frequency via either the 16-step sequencer or the LFO. Modulated filter patterns are easy to create, so we're told.

HASound spring 212

HASound spring 212

HASound Spring 212

Platform/format: PC, Mac/VST Download

If you're mixing music for systems that have stereo speakers in close proximity - boomboxes, for example - HASound thinks that this stereo expander plugin will help you to add a bit of width.

Xenobioz funxion

Xenobioz funxion

Xenobioz Funxion

Platform/format: PC/VST Download

A hybrid 3-oscillator synth that comes with user-definable functions for waveforms and distortion. Other features include three LFOs, three ADSRs, a randomizer, a multimode filter and two delay units.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.