What will be the next plugin release from “Variety Of Sound”?

I just asked this to ChatGPT and here is the answer:

As an AI language model, I don’t have access to real-time information about upcoming releases from specific companies or developers. However, it’s worth noting that “Variety Of Sound” is a well-known developer of high-quality audio plugins, with a particular focus on analog-style signal processing.

In the past, “Variety Of Sound” has released a range of plugins, including EQs, compressors, tape saturation emulators, and more. These plugins are known for their attention to detail, their intuitive interfaces, and their ability to add warmth and character to digital audio signals.

While I don’t have information about any specific upcoming releases from “Variety Of Sound”, it’s possible that they may continue to expand their range of analog-style plugins, or explore new areas of audio processing. As with any developer, it’s likely that they will release new products based on their own interests and expertise, as well as feedback and requests from their user base.

So, what about “feedback and requests” from your side?


  1. harry caul says:

    ferric for mac

  2. Bigger GUIs and Mac versions.

    • I second that. Having GUIs accommodating bigger screens and Mac versions would be absolutely awesome.
      I am more than happy to beta test them on M1 (Apple Silicon) Mac once they become available.

  3. I would totally enjoy a humongous modulation (phaser + flanger + chorus + whatever in between) or multifilter plugin. Saturation is covered already, reverb is covered already, eq is covered already, delay is covered already(even though a ducking addition would be totally cool), compression is covered already.
    Distortion and decimation are everywhere around. A strong modulation or filter plugin from VoS would find its way imho.

  4. Djerek Kayzakian-Rowe says:

    I went ahead and asked the new AI-powered Microsoft Bing to compare:

    “Variety Of Sound is a developer of audio plugins for Windows. According to their website, they are currently working on a new plugin called FlavourMTC, which is a passive equalizer with an output amplifier stage. They released a free beta version of this plugin on May 10, 2022. The official release date has not been announced yet.

    The latest plugin they released was epicPLATE, a plate reverb plugin that was launched on May 30, 2022. It is also available for free download from their website.”

  5. George Theodor says:

    Some “fast” compressor (like 1176 style) would be lovely.

    • Aren’t there enough out there already?

      • Yes. Yes there are. πŸ™‚
        If I was in a wishing mood I would hope for a channel strip with a Neve pre-amp, Pultec style EQ, and Distressor style compressor — but most importantly, the ability to saturate signal at multiple points in the signal (pre, EQ, compressor (including in the VCA), and output transformer — with of course a trim on the end to drive without clipping … which you always seem to include, because you get it! Thank you for your wonderful designs.

  6. It would be an auditory pleasure to hear something related to “tubes” “photocells” or Eq so musically rich to make an exception the Pultecs, or why not also a compressor as useful as versatile for each type of sound either drums voices bass etc,.

  7. Clean, digital (maybe with analog option) multi band, parametric EQ, with hi & lo cutoffs (kind of Waves Q10)

  8. Michael says:

    Hello Herbert,

    in 2010 you wrote an article about phase (shifting, modification) to color sound. What about a processor to shift the phase over the whole spectrum to enhance or clarify a given material? AFAIK know phase is automatically shifted when using standard EQs, but this is not controllable except one already knows which gain and frequency amounts shift the signal by which factor, also meaning we would need to eq the sound to shift it.

    Best regards from Krefeld


  9. Multiband saturation and distortion?

  10. Paramite says:

    Nice one πŸ™‚
    My request is a tape plugin with all sorts of non-linearities (wow&flutter, hiss, and all the distortion that might occur in such machines).
    Also an ultra lightweight “analog” thingy would be great, that we could just throw on channels to get some coloration, while not hogging resources like crazy (that being said, I’ve never tested your plugins in regards of CPU usage, so they might exists already πŸ˜€ ).
    Also a fully packed strip would be AMAZING! I would totally buy it, if it’s too much for a freebie.

  11. Linux !

  12. Oh man! I missed out on everything Nasty, especially the Nasty CS. Something approacing a Neve 1081 would be spectacular. Although, I will admit, Boot EQ is nearly everything I need.

  13. Tor KrΓΈvel-Velle says:

    I have a feeling that it is not your cup of tea, but I would love to see your take on a guitar amp plugin πŸ˜€

  14. My request: Headroom/Gain-Staging management in TesslaSE! Linked Input & Output knobs would be sufficient! With a range of 30dB.
    It’s a real pity not having that currently. More often than not, when mixing or worse when mastering. I’m ditching the plugin just because of that.. 😦

  15. Distortion!!!

  16. John Wells says:

    I’d love to have Rescue back…..at 64bit πŸ˜ŠπŸ™

  17. Something like Gullfoss by Sound Theory would be nice.

  18. Olaf Tryggvasson says:

    I can’t find a great delay to save my life. What I mean by great:

    A bit of a zingy, vibrant saturation – more like solid state, as opposed to tape, which is a bit duller – without harshness; could be embedded, if calibrated right – just for color, and a hint of edge, not actual distortion. Variable saturation is also welcome.

    Open sounding, without harshness, round and focused, without bloatware and mud.

    High pass, low pass, mandatory. These filters are important and I find most times they’re not implemented right. You usually get a dull sound when you cut the harshness, and a thin sound when you cut the mud.

    Modulation, probably on pitch, not on delay time. Something The Edge-sounding.

    Multi-line – I usually have about 2 separate delays per guitar, sometimes 1, very rarely 3. Each line should have its individual feedback and pan controls, not just time. Pan is very important.

    Maybe diffusion and width controls, not mandatory, but welcome.

    As usual, intuitive interface, with all these necessary controls, but no infinite adjustment options that uselessly get you down the rabbit hole. It should sound good right out of the box, not be tweaked to sound good.

    Should not be input gain dependent, I’m so tired of having to restage the gain of everything every time I adjust the output of a source, that I couldn’t begin to tell you. The level of saturation, if variable, should be controllable by a knob, and not input gain dependent.

    ACG on the output would be great, just adjust the wet mix and the volume stays the same – very useful when you go into an amp. This is very tricky. Too low a dry signal doesn’t drive the amp. On the other hand, if the dry stays the same, and you just add the wet, it muddies up the amp. So, I believe the ACG should be program dependent, but that would kill the CPU. So, don’t know what to advise here.

    Obviously separate, manual output control would be needed, for fine tuning – last stage, affecting the ACG signal.

    That would be really nice to see.

    What do you think?

    • Almost sold πŸ™‚

      • Olaf Tryggvasson says:

        glad to hear it (y). it’d be really great to have something like that. how do you think the output volume problem could be solved? how did hardware bbd/solid state units solve it? maybe the secret is simply in the clarity of the repetitions, and the way they integrate in the overall, then it’s just a normal out adjustment.

        • Such hw devices can behave very differently, depending on which aspects you look at specifically. The typical non-linearities, for example, are very level-dependent in the case of tape, whereas in the case of a BBD device they depend less on the level and more on the length of the cascade.

          • Olaf Tryggvasson says:

            wow, didn’t know that about bbd. makes a lot of sense, though, and that might the secret sauce. i know you know your stuff so i trust you can come up with something really good in terms of that attack drive vs. mud/smearing contradiction. i can’t come up with input on this one, as it’s way above my engineering pay grade – which is 0 above some common knowledge/common sense considerations.

  19. Olaf Tryggvasson says:

    Next suggestion – something that, personally I would find very useful:

    Channel variation plugin – in the style of Plugin Alliance’s TMT. For now I use Waves’s NLS, it does the job, but it always adds extra saturation, which could overcook signal already saturated. Plus it always needs to be gain staged, because of that, so changing the volume up-chain always requires redoing the input in NLS – same thing I’ve noted above. I’m interested in the variation, not in the extra-saturation.

    If that makes sense, cause obviously the channel variation on a console includes the variations in the saturation pattern. Noise pattern, without adding extra noise, etc. I’m curious is something can be conceived to emulate the minute differences in frequencies resulting from that, without adding extra saturation or noise. Obviously, a little cross talk would be great, too.

    Just to add that console vibrancy and separation across tracks, when you use the same console channel strip all across.

  20. Olaf Tryggvasson says:

    Last suggestion:

    A multi-preamp plugin – in the style of Melda’s MTurbo Comp.

    Should include a Neve, an API, a Helios, an EMI 12345, an EMI TG, a V76, maybe an Avalon.

    Retain the settings, as you flip through the different models.

    ACG, or unity gain – the style of PA’s 80s and 50s Console pres.

    Preamp response adjustable by knob, not by input gain.

    Low pass & High pass, not mandatory, but welcome.

    I know that would be a handful, just getting your hands on those pres, let alone emulating each, but it would be great to be able to slap it on every channel, and then choose the pre best fitted for the track, without having to worry about the gain.

    Just a few suggestions.

    Looking forward to your next!

  21. Matt Ellis says:

    Would be cool to see more options for reverb – Epic room, Epic Hall, Epic Spring? Could use the same interface layout from epic plate too.
    Also VST3 versions of all the plugins would be helpful.

  22. Will there be a 64-bit version of SlickHDR?

  23. While we’re at it: What about LoFi, Granular Stuff, … ?

  24. ok. I have a few. not esoteric ones, but extremely useful. here’s one.
    there are already a few good eqs out there, and you got your hands dirty on one as well. but something that doesn’t exist is a scale sensitive eq.
    basically, an eq that snaps frequency selection only at selected notes, scale wise. (microtuning would be wow but probably overshoot). scales presets, as well as user defined (global setting) would be perfect.
    I know, there’s a lot of eqs where you just click on a fake keyboard and draw your eq point, and also few midi note driven ones, but that’s exactly to avoid this and automate differently, just snapping while dragging a knob, an automation lane, a cc.
    I think it could be interesting for you since you already have nice filters and nice amp stages. this is just an implementation thing.
    you make one freeware with one or two selectable LoP-HiP-Peak-notch filters, throw in few saturation models on the amp stage, and then you go back to your gentlemen eq and enable it for all the filters. And you’ll have an unique feature that will turn an eq into a dream machine

    a technical aspect.
    the point is that when it comes to LoP and HiP this effect is interesting only if you can have almost truncating filters. A high order Legendre is what in my opinion works already really good. it’s almost resonant and scale selective on its own. probably some resonant custom high order ones could do a better job though. (I resolved with a combination of Legendre plus an overlapping peak filter to simulate resonation)
    see? already done. But i’m no dev. you are, though, and if you like the idea, hit me up, as there are few others where this comes from ^^

  25. A granular would be great! Something like the fx mode in 1010music Lemondrop…

  26. Pebblestream says:

    My first thought– I know this has been done a million times before (and I think I saw it mentioned already in the comments above), but a Distressor-style compressor.
    My second thought– maybe you’d enjoy dipping your toes in synthesis? Could make one vaguely based on the old analog synths, but without emulating any specific one. Or a invent a whole new style of synthesis, maybe something involving Stateful Saturation?
    My third thought which I definitely saw mentioned above– a multiband compressor/saturator/distortion/exciter/whatever else πŸ™‚

  27. fruitbat studios says:

    Frightening! – Looks like the next new thing is an AI to critique a mix!

  28. I think about your (probably) analog summing package. But for me the ultra hope is mac versions. Please, please

  29. Correct me if I am wrong, is there a variable phase EQ where the lower bands would be minimum phase to avoid pre-ringing and going to higher frequencies it would gradually become linear phase? Not either or, but something in betweeen, if you know what I mean.
    I may be completely stupid and have misunderstood how phases work, I was just wondering if we could have best of the both worlds.

  30. Teeny Joe says:

    An Aphex Exciter emulation.

  31. Diggnity says:

    preFIX for x64 platform

  32. Francesco says:

    Rescue AE 64 bit please!

  33. Jeru215 says:

    Maybe a Fairchild?

  34. Fafyula says:

    A Tube-Tech CL1B type plug-in. Because there are none on the market for free. It is a very good compressor. By paying, there are only 2 plus that of Presonus.

  35. I’m desperately looking for a ‘serious’ cassette/reel plugin. As far as I’m aware, only Satin includes does it properly, including compansion and pre/post-emphasis EQs. Yet, it’s designed with a high-end approach, it doesn’t go to tape cassette-land.

    ChowTape is a great free option for cassette physics. But doesn’t feature compansion, and emphasis. And its noise is kinda harsh.

    TB Reelbus lacks expansion. The rest of available plugins are either high-class reel machines (some of which sound great), or are wow/flutter toys, focusing on the most obvious artefacts. Or fall apart when driven a lot.

    There’s a very specific combination of punch and crunch when running a good consumer casette-deck/or affordable reel machine too hot. Based on compansion and pre/post emphasis EQ and noise. That’s completely overlooked territory so far. Despite having printed its sound all over 80s and early 90s dance music.

    So far, I got closest to the that character by faking my own channel strips with a number of plugins + macros. And realized how much fun it is, even with badly guessed approximated settings. (I read a ton of papers, and they made my brain explode.)

    FerricTDS-thrilled would be awesome πŸ™‚ With a cleverly reduced approach to offering more control over compansion and p/p-emph. EQ curves. With a saturation state that allows for being driven hard, without becoming a harsh mess πŸ™‚

    Bonus PS: I’m also not aware of a Tape delay emulation that does this smooth/subtle/slow/random pitch-shifting of the tape yet. Which results in the awesome kind of flanging you can hear on a lot of dub music. (And yes, that’s also easy to DIY in Bitwig, by slapping a pitch-shifter into its feedback path.

    NastyDLA update? πŸ™‚

    Btw, what happened to your HDR plugin? I enjoyed that a lot! (I tried to explain it in my blog a decade-and-then-some ago).

    Happy easter!

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