Werewolf Dynamics Plugins Bundle[FREE]@基于实时电路仿真的十三款模拟效果插件合集（Win）

简介:
狼人动力插件套装v0.8.1 VST3 CLAP AU WiN MAC [免费]
免费 | Windows Mac | 506 MB
模拟设备，从电路层面进行仿真。
大多数 “模拟建模” 插件都是快照: 测量硬件，拟合一些曲线，运送曲线。这些会在音频信号通过时对实际电路进行处理。用力击球时，电子管的偏置会发生变化。变压器铁芯会因磁通而饱和，因此其特性与频率有关，而不仅仅是幅值。光敏单元会记住你十秒前演奏的内容。图上没有任何绘制内容；如果某个仪表指针偏转或某条曲线发生弯曲，那都是电路中的某个元件使然。
而且由于整个电路都在里面，你还会得到一把螺丝刀。每个模块的后面板上都设有检修口，用于维护内部锁定的硬件：电源纹波、偏置、变压器余量以及电子管更换。将它们恢复出厂设置后，其表现就像一台保养良好的设备。或者不这样做。
阵容
WD光电
-LA-2A系列中的光学管式压缩器。光敏元件货真价实：两个时间常数、与程序相关的存储，以及那缓慢的稳定尾部。两种音色（电子管版WD-2A、晶体管版WD-3A），外加增益与铁质控制，尽享原版所不具备的丰富表现力。
WD木
-变mu压缩器，基于模拟的6386推挽级电路以及经典的六档时间常数切换组设计。没有阈值旋钮，因为电路本身就没有；你推动它，它就会向后倾斜。正面是偏置旋钮，背面则是配对不匹配的电子管。
WD Tec
-一款宽体模块，集成了无源电子管均衡、程序处理与中频处理功能。这款增益效果绝不会出错，还别具一格：滤波电感采用带磁芯的有源设计，而“Core”旋钮则可调节对磁芯的驱动强度。
WD磁带
-一个完整的磁带机。记录磁头、偏置振荡器、重放磁头，所有部件均按照技术人员在硬件上采用的同一工艺进行对准。两种储备配方。每个单元号都有其独特的运输特点。
威刚XQ
-一个参数均衡器，五个电路。精密数字式，两种控制台款式，一款阶梯式美式经典型号，以及一款源自1973年的电感器设计。旋钮的位置保持不变，而下方的电路则会改变它们的可操作功能。五款表带均支持动态显示。
WD FET
-FET压缩器，在一个盒子中有四个电路定律: 76每个人都可以到达，一个被压碎的760兄弟姐妹，一个锗路径和一个干净的精确定律。比率网络是从1176LN绘图中解决的，因此所有按钮都起作用，因为电路做到了，而不是因为我们伪造了曲线。攻击以微秒为单位。
WD VCA
-立体声总线压缩器围绕一个Blackmer风格的增益单元构建。两个检测器的大脑: 控制台总线将整个组合向后倾斜，就像著名的台式压缩机一样，RMS Punch用于鼓总线。自动释放、过冲膝点，以及RMS检测器的启动时间表均由同一个电容决定，与硬件完全一致。
WD胁迫
-一款秉承Distressor精神的曲线族压缩器。每个比例位置都是它自己的设计曲线: 1是完全没有压缩的预热失真，10:1借用了一个带有22秒尾巴的opto释放，nuke是一个日志释放的砖墙。三种失真模式，从框图中提取的两个立体声链接定律，以及一个英式模式开关，该开关可以像所有按钮滥用一样覆盖信封。
WD夹具
-三台压缩机，一台电源。将Opto，Mu，FET或VCA引擎加载到三个插槽中的每个插槽中，以任何顺序链接它们，并让它们像机架中的硬件一样共享导轨。驱动一个插槽的硬盘，其相邻的插槽也会受到影响。转接屏显示的是测量曲线，而非图纸，每个曲线上都标有一个点，该点对应槽的实时输入电平。
威盘预
-五个前置放大器共用一个增益旋钮。Precision digital wire，带有熨斗的英国a级控制台，美国运算放大器控制台，德国广播阀和卡带4轨桌面频道。增益会重新分配电路，因此每个档位对应的放大器都略有不同；输出端仅在铁氧体之后才设有推子。
威盘回声
-磁带循环回声，其中的循环足够真实，以至于能察觉到接缝。电机驱动运输，三个复写头，弹簧储罐。重复率是一个马达，而不是一个延迟刻度盘: 转动它，所有已经在循环中的东西都会随着运输而弯曲。时间箭头向前、回文或直线向后读取磁带。
威腾AX
-激励器，是基于专利而非围绕专利构建的。它添加的是一个生成的边带，而不是通过均衡器进行提升，因此基频始终保持不变。大的底部部分提升了音符的衰减，而不是它的打击: 在没有过载惩罚的情况下保持。
WD机架
-底盘。把它放在你的主总线上，给你的模块相同的帧号，突然它们被拧到同一个盒子里: 当邻居努力工作时，共享电源会下垂，相邻-插槽出血，您可以重新排序的插槽映射。把串扰调大，机架本身就成了一个独立的效果器。完全跳过它，每个模块都能独立、干净地运行。
WD条
-一个窗口内的控制台通道：前置放大器接均衡器，再接压缩器，每级都带型号选择器。五款Pre系列插件中的任意一款，包括EQ，以及四款压缩器中的任意一款。这三个阶段都挂载在同一工艺流程中的同一电源轨上，因此当前置放大器对电源产生负载时，压缩器的拐点也会随之移动。面上的响应曲线和压缩机传递是从运行的发动机实时测量的，而不是绘制的。无需机架。
WD夏季频道
-每条音轨对应一个桌面通道。一个选择器上有五个控制台: 带有变压器低点的brit办公桌，大型干净的内联办公桌，带有钢芯低点的离散运算放大器办公桌和一个坚硬的快速角落，EF86电子管控制台，以及德国广播放大器，直到您依靠它为止，它都不可见。每一个实例都与其他实例略有差异，其偏差与音轨名称相关联，正如1972年制造的四十个通道条彼此之间存在的细微差别一样。
西部数据夏季
-总线，这些通道汇聚到该总线上，并且其行为表现得像一个整体。您加载到组中的通道越多，共享供应的下垂就越多，因此繁忙的混音比稀疏的混音更快。那更像是一种机制，而非一个旋钮：你无法把它调高，只能在桌面上增加更多的频道。与通道相同的五张桌子，公交车大小-在干净的大桌子上，胶水根本不是变压器: 混合工作控制台的电源轨和轨道工作的混合权利。
WD跨度
-一种立体声加宽器，它采用变压器而非相位来工作。一切都发生在差异信号上，所以无论你多么努力地驾驶它，单声道折叠都保持精确-Haas和allpass加宽器不能声称的事情，因为他们通过花费单声道兼容性来购买宽度。推动铁芯，底部会自动向中心靠拢，因为磁芯在低频段会首先饱和。里面完全没有跨界。
WD弹簧
-一个真正的弹簧阻尼器，而不是一个带有弹簧效果的算法。钢弹簧的高频比低频快，因此每次反射回来都会被涂抹成下降的啁啾声。那就是“boing”效果，它是一种机制而非滤波器，因此板式算法无法模拟出这种效果。三个坦克: 吉他放大器的短亮锅，录音室机架单元和长暗控制台坦克。
WD 361
-降噪装置的磁带侧半部，以工程师们误用的方式使用。运行编码器，从不解码: 安静的材料出现，响亮的材料保持不变，顶部出现最硬的空气和密度压缩机不能给你，因为压缩机只在大声的一端工作。编码是著名的技巧，解码是相反的工具，三种类型的家庭是真正不同的机器。它并不声称具备降噪功能，因为在实际节目中，四频段的往返处理在硬件层面也从未实现过完全消除噪声。
WD旅
-水桶-旅延迟，黑暗的原因与原件相同。延迟时间就是时钟，而较慢的时钟会迫使滤波器关闭: 长的BBD延迟必然是暗的，明亮的延迟必然是短的。人们喜欢这些盒子的一切都来自这一事实-重复溶解成糊状，当您抓紧时间时，音调滑行，陪伴者隐藏了链条的嘶嘶声。想要自我振荡的嚎叫吗？后面板上有一个开关，它会关闭。
WD德尔塔
-一个发送/返回对，让你听到你的整个链在做什么: 任何插件，任何人的。发送在顶部抽头未触及的信号，在末端返回，通过相关性测量链的真实延迟，并监视差异-原始，或者水平匹配的声音如此之大，读起来就不一样了。干模式为您提供即时的全链旁路，没有PDC打嗝，湿匹配播放链响度-匹配其输入: 诚实的方式来A/B你自己的处理。

简介:
Werewolf Dynamics Plugins Bundle v0.8.1 VST3 CLAP AU WiN MAC [FREE]
FREE | WiN MAC | 506 MB
Analog gear, simulated from the circuit up.
Most “analog modeled” plugins are a snapshot: measure the hardware, fit some curves, ship the curves. These solve the actual circuit while your audio runs through it. The tube bias shifts when you hit it hard. The transformer core saturates from flux, so it cares about frequency, not just level. The opto cell remembers what you played ten seconds ago. Nothing is drawn on; if a meter moves or a curve bends, something in the circuit did it.
And since the whole circuit is in there, you get the screwdriver too. Every module has a rear panel with the service trims the hardware kept locked inside: supply draw, bias, transformer headroom, tube swaps. Set them to factory and it behaves like a well-kept unit. Or don’t.
The lineup
WD Opto
— optical tube compressor in the LA-2A bloodline. The photocell is the real thing: two time constants, program-dependent memory, that slow settling tail. Two voicings (tube WD-2A, solid-state WD-3A) plus drive and iron controls the original never gave you.
WD Mu
— variable-mu compressor built around a simulated 6386 push-pull stage and the classic six-position time-constant bank. No threshold knob, because the circuit doesn’t have one; you drive it and it leans back. Bias knob on the front, mismatched tube pairs on the back.
WD Tec
— passive tube EQ, program and midrange sections in one wide module. The boost you can’t get wrong, with a twist: the filter inductors have live magnetic cores, and a Core knob sets how hard you push them.
WD Tape
— a full tape machine. Record head, bias oscillator, reproduce head, all of it, aligned by the same procedure a tech would use on the hardware. Two stock formulations. Every unit number ships with its own transport quirks.
WD XQ
— one parametric EQ, five circuits. Precision digital, two console flavors, a stepped American classic, and an inductor design from 1973. The knobs stay put while the circuit underneath changes what they’re allowed to do. Dynamic bands on all five.
WD FET
— FET compressor with four circuit laws in one box: the 76 everyone reaches for, a crushed 760 sibling, a germanium path, and a clean precision law. The ratio network is solved from the 1176LN drawing, so all-buttons works because the circuit does it, not because we faked the curve. Attack is measured in microseconds.
WD VCA
— stereo bus compressor built around one Blackmer-style gain cell. Two detector brains: Console Bus leans the whole mix back the way the famous desk compressor does, RMS Punch is for the drum bus. Auto release, over-easy knee, and the RMS detector’s attack table falls out of one capacitor, same as the hardware.
WD Duress
— a curve-family compressor in the Distressor spirit. Every ratio position is its own engineered curve: 1:1 is warm-up distortion with no compression at all, 10:1 borrows an opto release with a twenty-second tail, and Nuke is a log-release brickwall. Three distortion modes, two stereo link laws taken from the block diagram, and a British Mode switch that overrides the envelope the way all-buttons abuse does.
WD Clamp
— three compressors, one power supply. Load an Opto, Mu, FET or VCA engine into each of three slots, chain them in any order, and let them share a rail like hardware in a rack does. Drive one slot hard and its neighbors feel it. The transfer screens are measured curves, not drawings, with a dot riding each one at the slot’s live input level.
WD Pre
— five preamps behind one gain knob. Precision digital wire, a Class A British console with its iron, an American op-amp console, a German broadcast valve, and a cassette 4-track desk channel. Gain redistributes the circuit, so every detent is a slightly different amplifier; output is only a fader after the iron.
WD Echo
— tape loop echo where the loop is real enough to have a splice. Motor-driven transport, three repro heads, spring tank. Repeat rate is a motor, not a delay dial: turn it and everything already on the loop bends with the transport. The time arrow reads the tape forward, palindrome, or straight-up backward.
WD AX
— the exciter, built from the patents instead of around them. It adds a generated sideband rather than boosting EQ, so the fundamental never moves. The Big Bottom section lifts the decay of a note instead of its hit: sustain without the overload penalty.
WD Rack
— the chassis. Put it on your master bus, give your modules the same frame number, and suddenly they’re screwed into the same box: shared power supply that sags when a neighbor works hard, adjacent-slot bleed, a slot map you can reorder. Crank the crosstalk and the rack becomes an effect of its own. Skip it entirely and every module runs clean standalone.
WD Strip
— a console channel in one window: preamp into EQ into compressor, a model selector on each stage. Any of the five Pre laws, either EQ, any of the four compressors. All three stages hang off one power rail inside the same process, so the compressor’s knee moves when the preamp leans on the supply. The response curve and compressor transfer on the face are measured live from the running engines, not drawn. No rack required.
WD Summer Channel
— the desk channel, one per track. Five consoles on one selector: the brit desk with its transformer lows, the big clean inline desk, the discrete-op-amp desk with steel-core lows and a hard fast corner, the EF86 tube console, and a german broadcast amp that stays invisible until you lean on it. Every instance drifts slightly from every other one, keyed to the track name, the way forty channel strips built in 1972 drift from each other.
WD Summer
— the bus those channels sum into, and it behaves like one. The more channels you load onto a group, the more the shared supply sags, so a busy mix grabs sooner than a sparse one. That is a mechanism rather than a knob: you cannot turn it up, you can only put more channels on the desk. The same five desks as the channel, bus-sized — and on the big clean desk the glue is not a transformer at all: the mix works the console’s power rails and the rails work the mix right back.
WD Span
— a stereo widener that works with a transformer instead of phase. Everything happens to the difference signal, so a mono fold stays exact no matter how hard you drive it — the thing the Haas and allpass wideners cannot claim, because they buy width by spending mono compatibility. Push the iron and the bottom pulls toward the centre on its own, because a core saturates on the lows first. No crossover anywhere in it.
WD Spring
— a real spring tank, not a spring-flavoured algorithm. A steel spring carries high frequencies faster than low ones, so every reflection comes back smeared into a descending chirp. That is the boing, and it is a mechanism rather than a filter, which is why plate algorithms cannot fake it. Three tanks: the short bright pan out of a guitar amp, the studio rack unit, and the long dark console tank.
WD 361
— the tape-side half of a noise reduction unit, used the way engineers misused it. Run the encoder and never decode: quiet material comes up, loud material stays put, and the top comes up hardest — air and density a compressor cannot give you, because a compressor only works on the loud end. ENCODE is the famous trick, DECODE is the opposite tool, and three TYPE families are genuinely different machines. It does not claim to be noise reduction, because the four-band round trip on real program never nulled on the hardware either.
WD Brigade
— a bucket-brigade delay, dark for the same reason the originals were. The delay time IS the clock, and a slower clock forces the filters to close down with it: a long BBD delay is necessarily dark, a bright one is necessarily short. Everything people love about these boxes falls out of that one fact — repeats that dissolve into mush, the pitch glide when you grab TIME, the compander hiding the chain’s hiss. Want the self-oscillation howl? There is a switch on the rear panel, and it ships off.
WD Delta
— a send/return pair that lets you hear what your whole chain is doing: any plugins, anyone’s. SEND taps the untouched signal at the top, RETURN sits at the end, measures the chain’s real latency by correlation, and monitors the difference — raw, or level-matched so louder never reads as different. A DRY mode gives you instant whole-chain bypass with no PDC hiccup, and WET MATCHED plays the chain loudness-matched to its input: the honest way to A/B your own processing.