MaxSynths,purveyorof manyaWindows-based instrument and effect, has recently announced that he’s unable to continue support for his sundry plugins and has declared them freely available to all. That’s half a dozen synths, ranging from virtual analogue to sample-based stuff. There’s also a trio of drum synths and scads of effects –

http://www.maxsynths.com/index.html

Xhip synth

In 2003 it existed as a stand-alone application ("acid synth") and someone suggested that it should be converted to a VSTi.
Xhip allows you to produce the highest quality dual-oscillator polyphonic synthesizer sounds, similar to classic poly synthesizers of the late 80s. Strings, synth pads, basses, leads, organs, pianos, percussion, bells, vocals, sound effects and more are demonstrated in the included bank.
Features:

• Two oscillators, filters, envelopes and LFOs. 
• Sync and xmod. 
• Oscillator (super-saw) unison. 
• PCM (samples) as oscillator waveforms with anti-aliasing. 
• Ring-mod. 
• Audio-rate filter modulation and saturation. 
• Waveshaper. 
• Sample-accurate modulation. 
• Voice level unison.

http://xhip.net/

PG8X

Martin Lüders has released the latest beta version of PG8X, a fantastic freeware emulation of the legendary Roland JX-8P analogue synthesizer.
A native C++ version.
The interface looks beautifully retro and provides quick access to all of the available control parameters in a single panel, which is always a big plus for virtual synthesizers. But all of that visual beauty pales in comparison to PG8X’s sound – the organic, warm and rich sound that one still can’t obtain from most virtual synthesizers nowadays, free or commercial. The secret of PG8X’s sound is in the filter section, in our opinion. The synth’s brilliantly coded VCF saturates and warms up the sound produced by the oscillators, resulting in that authentic 80s sound that will remind you of the soundtracks of old VHS cartoons and movies.
http://www.kvraudio.com/forum/viewtopic.php?f=1&t=310856

Qontrolr

Qontrolr is a distortion effect with four different distortion flavors: clipping, bitcrushing, fuzz distortion and static distortion. It is very handy in situations when you want to distort a certain sound with minimum fuss. The clipper and bitcrusher modules sound particularly nice.

http://sbaudio.org/qontrolr

Bob Perry Gate

Bob Perry Gate is a noise gate plugin with some neat additional features, most notable of which are the side-chain input and the user-adjustable signal detection algorithms (linear, logarithmic and S-curve). With these added features, the plugin can be adjusted to perfectly respond to the volume of the processed audio signal, preventing the occurrence of audible noise gating artifacts. The side-chain input can also be used for creative effects, especially for getting that pumping side-chain compression sound.

http://www.bobperry-audio.com/shop/bob-perry-gate/

HY-Delay

HY-Delay emulates old digital delay units from the 80s, such as the RDD-10 and RDD-20 models by Boss. These old school digital delays were actually 12-bit, which is why they have a peculiarly gritty and lo-fi signal quality. To make things even more interesting, each repeat sounds a bit more distorted than the previous one. As you already know, lo-fi does not necessarily mean bad in the audio world, so it’s no surprise that these old delay effects have somewhat of a cult status, albeit not on the same level as vintage tape delays.
In order to achieve this type of sound, HY-Delay features a bitcrusher module on the input, allowing the user to manually set the amount of bitcrushing that will be applied to the signal before it reaches the feedback circuit. The plugin also includes a pair of filters which can be used to shape the delayed signal.

http://hyakken.moo.jp/WordPress/product/hy-delay/

Svep

Klevgränd Produktion
Svep kind of blurs the lines between a chorus effect, a phaser and a flanger. It can do all three of these effect types, as well as some more extreme (or really subtle) pitch modulation effects. The user interface is quite possibly the best part of Svep. It looks super stripped-down and simple, yet at the same time it doesn’t make you feel like you would need access to any additional control parameters. Using such a practical and well designed minimalist user interface is quite refreshing if you’re used to working with complex effects or virtual instruments.

http://klevgrand.se/products/svep/

OverToner

OverToner is a versatile and easy to use saturation tool, featuring thirteen different distortion algorithms. The included distortion types range from classic analog saturation and soft clipping to harsh digital distortion and everything in between. Also included are two analog style band-pass filters which can be used to further shape the audio signal on the output.

http://www.rebel-audio.com/

Taiga Gravel

Taiga DSP releases Gravel, a freeware bitcrusher/distortion effect with a built-in envelope follower.
The plugin offers three different types of distortion (drive, bitcrushing and sample rate reduction), paired up with an envelope follower module. The combination of a distortion effect and an envelope follower can result in a wide variety of effects, ranging from simple bitcrushing and analog style distortion to subtle transient treatment, compression and all sorts of heavy audio mangling.

http://www.taigadsp.com/gravel/

The Marauder

Originally designed as a high-gain amplifier for VA synths, The Marauder is a boutique distortion plugin providing a unique workflow for adding wear, heft and grit. Going beyond naive waveshaping methods, the core of the Marauder is configurable distortion model with colourful interplay between its four gain stages.
Inspired by feedback compressor designs, an envelope balances the input stage between two amplifier models, each with a distinct flavour. A crossover filter feeds the highs through a dedicated signal path for tonal control.

Signal routing throughout the plugin features a meticulously balanced feedback network, resulting in subtle interplay between the overdrive characteristics of the various gain stages - ensuring just the right amount of unpredictability.

http://www.audioparlour.ca/audioPlugins.html

EQ1A

EQ1A, a great little analog-style parametric equalizer packed in a tight user-friendly interface. Mellowmuse surprised everyone when they re-released this rather capable little EQ as a freebie, since it was originally available as a commercial product priced at $49 (first released in December 2011).
EQ1A is the kind of equalizer you reach for when you want to make broader tonal adjustments. It is very easy on the CPU, so adding it to multiple tracks throughout the mix won’t affect the overall performance too much. You can use the plugin to cut out the unnecessary low end rumble and high end hiss, as well as to boost or cut more precisely in the mid range with the Low Mid and High Mid frequency bands. EQ1A hits that perfect balance of usefulness and simplicity, which makes it one of our favorite channel equalizers on the freeware market.

http://www.mellowmuse.com/EQ1A.html

Code Red SGA

Code Red Free is an excellent console EQ emulation, inspired by the legendary Abbey Road REDD mixing consoles. The plugin was created by Shattered Glass Audio, the same team of developers who made the outstanding SGA1566 tube preamp which ranked at #4 in our last year’s list (and which is still, in our opinion, the best freeware tube amplifier effect out there).

Packing tons of analog-like mojo under the hood, Code Red Free is yet another brilliant piece of freeware by SGA, equally useful for mixing and post production tasks. It can be used for subtly enhancing the output of multiple mixer channels, leading to a nicely saturated mix. Or, you can simply add it to your master channel and use Code Red Free to tighten up the sound and warm it up a bit.
http://www.shatteredglassaudio.com/product.php?id=106

Alan ViSTa Royotoms

Sampled by Roy Miller, this 8 rototom set is tuned so as to play the famous Pink Floyd song Time. A reverb set of samples was also created from the dry samples, adding an IR impulse from an EMT-140 reverb unit - the very same model used in the original recording.

http://www.alanvista.com/royotoms/

STC-3 stereo processor

STC-3 is a precision tool for controlling the stereo width of any stereophonic content. Use it for expanding the stereo field of synth pads, sound effects or soundscapes or to narrow a track to full mono.
Designed for zero artifacts and natural sound, STC-3 can be used on a single channel or on the bus processor, for both mixing and mastering.
A large stereo-readout display provides a visual feedback of the used expansion and the dedicated 'LF Processor' makes sure that the low frequency content is kept vivid and tight, albeit the stereo expansion.
RazAudio

http://www.razaudio.com/spatial-expander.html

Soft Amp

Virtual guitar amps.

http://www.soft-amp.com/audio-fx

SH-it Bass is a sampled bass sound from the Roland SH-101synthesizer.

You can make your own sound by mixing between the main oscillator (osc 1+2 from the SH-101), the sub oscillator and the noise generator.

• Monophonic.
• 3 layers.
• 25 main osc samples.
• 25 sub osc samples.
• 5 round-robin noise samples.
• Modwheel controls the LFO.

http://www.vst4free.com/free_vst.php?plugin=SH-it_Bass&id=2430

sTilt

sTilt is a linear phase filter which tilts the audio spectrum around a given center frequency.

http://www.tb-software.com/TBProAudio/stilt.html

2Rule Filter

“2RuleFilter” is a self-resonant moog type filter that allows the filter cut-off frequency to be controlled manually, or by LFO, or by an envelope follower. It has a interresting feature called “scrambler” that plays filtered signal randomly depending on the selected beat. The “mix” knob mixies wet and dry signals, The “volume” knob is for setting the output volume level. The”Bit crusher” produces hard sound. Using its scramble feature you can maintain the rhythmic, choppy, buffered and tempo sync output.

High Pass, Low Pass, Band Pass filter
Modulation of filter cut-off frequency by LFO (tempo-sync), manuallly or envelope follower(reversable)
Bit crusher (16bit to 1 bit)
Scrambler that devide one measure to different time intervall and plays beats randomly.
Mix ballance in between dry(input signal) and wet(filtered and bit crushed).
Sensitivity that allows the filter cut-off frequency be changed from roughly to smoothly. This effect is the same of parameter smoothing.

https://sites.google.com/site/2rulesite/