Release Date: August 14, 2026
Version: 1.0.0
Developer: Audio Damage
Developer Website: Audio Damage
Format: VST3 | AU | AAX | CLAP | LV2
Bit Depth: 64-bit
Crack: Cracked
System Requirements: Win 10+ | macOS 10.13+ | Ubuntu 20+
- 405.5 MB
Description:
The AD-202 is a monophonic, single-oscillator synthesizer styled after the small gray boxes of the early 1980s.
It features a single VCO with saw, pulse, sub, and noise sources feeding into a 24dB ladder filter, one envelope, one LFO, and very little else.
All primary controls are located on the front panel, offering a direct signal path from knob to sound.
Beneath the vintage-style panel lies a thoroughly modern instrument. It offers mono or 8-voice polyphony,
per-voice analog drift, a tempo-synced LFO with delay start, MPE support, MTS-ESP microtuning, and a post-VCA coloration section
featuring saturation, filter controls, distortion, and a tilt EQ. The ergonomics are the most vintage aspect;
everything else is decidedly modern.
Features:
• Single VCO with four frequency settings (16′, 8′, 4′, and 2′) based on an alias-free sawtooth wave and a dual-peak pulse wave that is DC-free at any pulse width. Pulse width is manually adjustable or modulatable via LFO or envelope.
• Auxiliary oscillator – a trigger-based divider derived from the main oscillator, operating one octave down, two octaves down, or generating a two-octave pulse; filtered and DC-blocked just like the hardware divider chain.
• Source mixer with pre-filter saturation – independent levels for sawtooth, pulse, auxiliary, and noise signals, summed into a soft clipper. The “Pre-Filter Sat” control increases the load on the clipper eightfold without additional gain, effectively overdriving the mixer just as if all four sources were fully open.
• 24 dB ladder filter – a resonant 4-pole low-pass filter featuring its own Drive control, soft clipping in the feedback loop, and gain compensation to prevent signal level drop when the load increases. Cutoff frequency is modulatable by the envelope, LFO, key tracking, and velocity, with varying degrees of intensity.
• Single exponential ADSR envelope generator based on time-sharing, replicating the original’s retriggering behavior: a new attack phase begins from the envelope’s current position rather than from zero. The VCA can be triggered by the envelope or directly by the oscillator output. • Low-frequency signal with start delay—triangle, square, stepped random, and sample-and-hold noise;
ranges from 0.1 Hz to 30 Hz or syncs to host tempo. The delay control extends the onset time by up to four seconds,
causing vibrato to fade in after the note sounds. Optional re-triggering for each note.
• Three trigger modes—Gate takes the lowest note and reuses the voice; Gate plus Trig takes the latest note
and re-triggers the envelope; and LFO re-triggers the envelope once per LFO cycle for a hardware-style
playing feel.
• Portamento—glide time of up to five seconds with an auto mode that triggers only on overlapping notes,
plus fixed pitch range control of +/- 50 cents.
• Monophonic or 8-voice polyphonic—the same timbre distributed across eight voices,
with constant-power panning across the stereo field determined by the Spread parameter. Mono mode preserves the original note priority,
legato behavior, and auto-glide rules.
• Age—fixed random drift in pitch, pulse width, cutoff frequency, LFO rate, and mixer levels for each voice,
unique to each plugin instance. Two AD-202 instances in a project will never sound identical—and that’s the point.
• Output stage—post-VCA distortion and a bipolar tilt EQ (1 kHz center frequency) on the MODS panel,
serving as the pedal/channel EQ you’d reach for anyway. • MPE and aftertouch routing – full MPE support with per-note pitch bend and pressure, four aftertouch destinations
(oscillator modulation depth, filter modulation depth, filter cutoff frequency, LFO rate), plus independent attack and decay smoothing
for pressure.
• MTS-ESP microtuning – continuous retuning from any MTS-ESP master plugin, applied per-note and per-voice,
maintaining glide during retuning.
• Velocity – independent velocity sensitivity control for the amplifier and filter, both featuring a negative offset,
so that a hard press yields the sound defined by the panel settings, while a soft press results in a more subdued sound.
