The developer of SketchCassette has just released a free plugin called Lofi Oddity, an audio “degradation toy box”

With their quirky interfaces and unconventional sound, Aberrant DSP’s plugins have been piquing producers’ interest for several years now. In fact, SketchCassette - the company’s debut release - has even ended up in the hands of Finneas, who used it in the production of Billie Eilish’s What Was I Made For?

It’s with no small amount of pleasure, then, that we tell you that Aberrant has now released a free plugin, Lofi Oddity. This is something of a ‘greatest hits’ package, taking elements from three of the developer’s paid-for plugins (plus one that may well be coming soon) and packing them into an easy-to-use ‘degradation toy box’.

In keeping with the old-school vibe, the interface looks like it’s been made for an early version of Windows or MacOS. It contains four modules; first up, Corruption, which provides digital artifacting and stuffer effects inspired by Digitalis.

Next, we move on to ‘????’ - yep, that’s what it’s called. Aberrant DSP implies that the lack of a name can be blamed on the fact that this “uncharted space” provider is derived from a plugin that hasn’t been released yet.

The Tape module, meanwhile, offers you a taste of SketchCassette’s C90-style degraded warmth, while the Comp module takes its cue from ShapeShifter.

You can dial in the amount of each effect individually, and there’s also a Master Mix control. 18 factory presets are included to demonstrate what Lofi Oddity is capable of.

All in all, Lofi Oddity looks like a no-brainer download - it comes in VST/AU/AAX formats and runs on PC and Mac. Go and grab it on the Aberrant DSP website.

Aberrant DSP Lofi Oddity

(Image credit: Aberrant DSP)
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. 

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