Brokild Plugin Collections

Brokild Plugin
Collections

Professor Brokild’s Unusual and Sometimes Useful Music Machines

These are VST3s that all do something I needed and couldn’t find elsewhere (I have a ton of VSTs), or just weird ideas I was curious whether would work. The point was never to make a better version of something familiar, but to end up somewhere no existing instrument would have taken me.

The core is the Brokild Collection: genuinely useful and powerful synths and FX, where Battlestar Overdrive, Clone Wars, Black Rider, 1984, Thirty Thousand Years, Martian Gain, Blade Ruiner, Escape Room and Thin Walls especially turned out great. Thin Walls is the most overengineered room processor imaginable. The Beetmachine Collection is three drum synthesisers and the kit that plays them. The Experimental collection makes useful and quite weird sounds, but is much more unpredictable and hard to control. You should also check out the Proxima Centauri B findings, which is a recent collection of sound-making artefacts from an expedition to Earth’s nearest sort-of habitable planet.

All of this was done during September 2026 using Claude Code. I cannot provide bug fixes, guidance or anything else, but you are welcome to download the code and change it however you want, and turn it into your own. Drop me a line on peterblackhole at geemail dot com if you liked them, I’d love that.

All is conceived and specified by me and programmed with the help of artificial intelligence coding software. These VST3s would never exist without it.

See the instruments Source on GitHub

The instruments

The grid above is built in the browser. Here is the same list as plain links:

The Brokild Collection (all 13) — The instruments and effects that are finished and meant to be used. Eight instruments and five effects for Windows, with their manuals and their standalones.

The Beetmachine Collection (all 4) — The drums: a kick, a snare and the hats and cymbals, every hit synthesised and no samples anywhere, and Beetmachine, the kit that plays all three.

Beetmachine (VST3) — The kit that plays the three drum synthesisers. Eight slots, each empty or holding a real Kickstart, Snare Tactics or Hats Off, and a click on a slot opens that drum's own full…

Kickstart (VST3) — A kick drum synthesiser: no samples, every hit synthesised. Acoustic kicks, the classic drum machines, and gabber, hardstyle, dubstep, techno rumble and the trap 808, from…

Snare Tactics (VST3) — A snare drum synthesiser: no samples, every hit synthesised. Studio snares, the classic drum machines, and snares for techno, dub, industrial and digital hardcore, from a head, a…

Hats Off (VST3) — A hi-hat and cymbal synthesiser: no samples, every hit synthesised. Studio hats, rides, crashes and a china, the drum machines' circuit cymbals, and hats for techno, dub and…

Gravity Well (VST3) — Gravity Well covers a huge sonic ground, capable of classic analog to wild and aggressive modern sounds.

1984 (VST3) — A vintage analog polysynth built the way the big ones were: eight voices, each of two complete ranks with their own oscillator, resonant high-pass, resonant low-pass, filter…

Thirty Thousand Years (VST3) — Four ways of making sound, all running at once and exciting one another: analogue weight, a wavetable and phase-modulation voice, granular and spectral memory over anything you…

Thin Walls (VST3) — An apartment of three rooms and three doors that you put the sound inside and then walk around in.

Magneto Transport (VST3) — A tape echo in which nothing is faked: no wow LFO, no saturation curve, no noise generator.

Rite of Passage (VST3) — A transition processor: one slider is the journey, and the landing is a separate thing you fire.

Battlestar Overdrive (VST3) — An overdrive, and a tribute: named after Max Christensen's Copenhagen solo project and built with his blessing.

Clone Wars (VST3) — Sixteen detuned oscillators in two armies of eight, crossfaded by a single fader — THE WAR — which can be set to take up to five minutes to cross.

Black Rider (VST3) — An analogue monosynth sitting between the MS-20 and the Moog. Two oscillators you can push into instability, drift and injection-lock, and one filter with three circuits on a…

Proxima Centauri B findings (Collection) — Four objects recovered from Proxima Centauri b, each making sound continuously by means that have no counterpart among our instruments.

Full Metal Racket (VST3) — An analogue drum machine whose twelve voices share a power rail, a shell and a bleed web — so a hard kick dips the whole machine in pitch as well as level, and hitting the snare…

Martian Gain (VST3) — A multiband distortion. One to five bands, each running one of sixteen algorithms, each with its own limiter — and each level-matched by measurement, so turning DRIVE up changes…

Blade Ruiner (VST3) — Three layers at once: a drone city of nine detuned saws and filtered rain, an eight-voice polysynth with a ladder filter, and a sixteen-step sequencer built from a six-bit seed.

Escape Room (VST3) — Five noise cells, a playable filter, three traps — and a SIGIL, a number from 0 to 63 that seeds eight modulation wires deterministically.

The Experimental Collection (all 5) — Instruments that exist to ask a question about how sound can be made. Each one is a thesis rather than a product.

Brain Scan (VST3) — A synth that stores no waveforms but a volume — a scalar field filling a cube, the kind of number a scanner records — and reads a curve through it.

High Tide (VST3) — A wavetable synth that stores no waveforms either: every frame is a bowl on a sculpted terrain, and the sound is what a mass does when it is dropped into it, integrated by…

Photo Synth (VST3) — A synthesiser you play by moving a cursor across a photograph. The colours under the cursor are the sound — hue, saturation and brightness map onto the oscillator, the filter and…

Legion (VST3) — One voice in, a choir of it out. Up to four copies, each with its own pitch AND its own body size, because a voice shifted without separating those two is a chipmunk rather than a…

Hairfryer (VST3) — A free Windows VST3 vocal strip that attempts to convert a clean, loud singing voice into a metal-ish one — growls, gutturals, pig squeals, fry based on physics.

Photo Synth (HTML) — The same idea in a browser tab, with the things only a browser can do. Play four photos: colour becomes tone, in mono, unison or four-note polyphony, through a filter, an envelope…

Sound Wizard (HTML) — An audio analyser and tone generator for the phone, fast enough to keep up with real sound, in two rooms.

Note Words (HTML) — Spell words in musical notes, the way Bach signed B-A-C-H. In German note names B is B flat, H is B natural and S is Es, E flat, so BAGGAGE, CABBAGE and SAGA are melodies.

Sleeper Agent (HTML) — A five-fader mixer for sleeping sound: brown noise, green noise, rain, soft rain and ocean, in any combination rather than one at a time.

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Elsewhere on Brokild

Brokild VR

There is a second wing of this site that has nothing to do with sound: Brokild VR, WebXR rooms that run in a Meta Quest 3's own browser with nothing to install. The first one is Guldplaneten — a spaceship cockpit you fly from a launch pad in Denmark to the Moon, Mars or a gold fractal planet. It runs flat in an ordinary browser too, if you have no headset.

About

Why these exist

Every one of these started as a thing I wanted to play and could not find. A synth you perform by moving a cursor across a photograph. A drum machine whose twelve voices share a power supply, so a hard kick makes the whole kit sag. A monosynth built to be pushed until its oscillators lock to each other. None of them is a better version of something that already exists; each one goes somewhere I could not otherwise get to.

They are made for my own enjoyment, and given away because there is no reason not to. Free, no installer, no account, no telemetry, nothing uploaded anywhere — the sound is made on your machine and stays there. Nothing in them is asserted either: each is built against a bench that renders real audio and measures it, and the numbers in the manuals come from that rather than from my opinion of it.