TELECOM — Data Degrader, Corruption Processor
TELECOM · LO-FI EFFECT PLUGIN
Telecom plugin interface

Thirteen ways to lose a signal. All of them real.

Telecom encodes your audio with real codecs, sends it through emulated modems, phones, tape, CDs, and radio, and decodes what survives. The glitches are real transmission errors.

  • VST3 · AU · Standalone
  • macOS · Windows
  • 13 engines
  • 14 codecs + Auto
“You really have to hear this thing. I can't even explain half the sounds I'm getting out of it, and that's exactly why I love it.”
David G.

Runs as VST3 or AU in hosts such as

  • Logic Pro
  • Ableton Live
  • FL Studio
  • Bitwig Studio
  • Studio One
  • Cubase
  • Reaper
01HEAR THE DIFFERENCE

Lo-fi you can only get from a dying connection.

Processed audio, straight from Telecom. Every example below is a render from the plugin — nothing added in post.

13 ENGINES · LINE · CLEAN
V.32BIS

DEFAULT SETTINGS ONLY. THE PLUGIN ALSO HAS 14 CODECS, NOISE, ECHO, DRIFT, JITTER, WEATHER, BIT ERRORS, S.A.M. VOICE, SYNCED DROPOUTS AND MORE.

DRUMS
Packet loss at 33.6k
V.34 · G.726 ADPCM 4-BIT
READY · PROCESSED AUDIO
DRUMS
4-QAM grit
V.34 + 4-QAM CONSTELLATION
READY · PROCESSED AUDIO
BASS
Bit-error bass
CVSD · BIT ERRORS · INPUT +12 DB
READY · PROCESSED AUDIO
BASS
Overdriven constellation
CONSTELLATION · 4-QAM · INPUT +12 DB
READY · PROCESSED AUDIO
VOCALS
2400 baud spy
V.22BIS · LPC-10
READY · PROCESSED AUDIO
SYNTHS
Echo diverge
V.34 · ECHO CANCELLER
READY · PROCESSED AUDIO
SHOWING 6 OF 34 RENDERS
02 / WHY IT SOUNDS DIFFERENT

The errors are the sound.

Audio becomes data, travels through a damaged connection, then returns as sound. Each signal path breaks in its own way.

  1. 01INPUT

    Audio in

    Your vocal, drum loop, synth or full mix.

  2. 02PROCESS

    Codec

    Encoded into bits by a real historical codec.

  3. 03PROCESS

    Modulate

    Bits become tones, tape pulses, pits or packets.

  4. 04SIGNAL LOSS

    The line

    Noise, echo, drift, scratches, packet loss.

  5. 05PROCESS

    Recover

    An adaptive receiver fights to lock back on.

  6. 06OUTPUT

    Audio out

    The surviving data is decoded back into audio.

CLEAN AUDIOENCODE → TRANSMIT → REBUILDCHARACTER OUT
03 / THE MACHINES

13 ways to lose a signal.

SCROLL TO EXPLORE / 01—13
Bell DataPhone 300
01Bell DataPhone 300
LINES / 1962

BELL 103

Two tones carry every bit. Chirping, smeared and strangely melodic.

CVSD
USRobotics Courier 2400
02USRobotics Courier 2400
LINES / 1984

V.22BIS

2400-bit telephone transmission. Narrow, secret-agent vocals.

LPC-10
USRobotics Sportster 14.4
03USRobotics Sportster 14.4
LINES / 1991

V.32BIS

Grainy telephone tone. The receiver loses its grip and retrains.

G.726 ADPCM 2-BIT
33.6k serial modem
0433.6k serial modem
LINES / 1994

V.34

33.6k dial-up. Adaptive recovery, packet damage and sudden retrains.

Windows 95 · dial-up era
G.726 ADPCM 4-BIT
USRobotics 56K Faxmodem
05USRobotics 56K Faxmodem
LINES / 1998

V.90

56k-era phone lines with PCM transmission and μ-law grit.

MU-LAW (G.711)
Office fax machine
06Office fax machine
LINES / GROUP 3

FAX

Sound becomes a fax page, then audio again. Printed, smeared textures.

FAX T.4 (MH)
Nokia 3310
07Nokia 3310
MEDIA / GSM

CELL

GSM mobile-phone character: narrow voice, broken reception and digital fragments.

GSM FR
Icom IC-7300
08Icom IC-7300
MEDIA / HF

RADIO

Shortwave radio: tuned voices, unstable reception and drifting carrier tones.

ANY
Commodore Datasette C2N
09Commodore Datasette C2N
MEDIA / 1975 –

TAPE

Cassette loaders, speed wobble and worn-tape dropouts.

ZX Spectrum · Commodore 64
LPC-10 / SAM / SPEAK&SPELL
Sony Discman
10Sony Discman
MEDIA / CD

DISC

Scratched CDs, skips, stuck loops and bad rips.

Portable CD players · CD-ROM
CD PCM 16-BIT
Early web audio · illustration
11Early web audio · illustration
MEDIA / 1996

STREAM

Early internet audio. Lost packets, frozen buffers and broken playback.

RealAudio · early web radio
RA 14.4
Direct codec path · concept
12Direct codec path · concept
BASE / RAW

DIRECT

Codec only plus raw bit errors — no transmission. The fastest way to hear a codec’s own character.

ANY
16-QAM scope · concept
1316-QAM scope · concept
BASE / QAM

CONSTELLATION

Audio snapped to modulation constellation points. Near-zero latency and stackable on any engine. Built for drums and bass.

—
04 / CODECS WITH CHARACTER

14 codecs. Any line.

The codec gives it a voice. The line tears it apart.
AUTO matches the codec to your engine.

LPC-10

ROBOTIC SPY RADIO

SPEAK&SPELL

TOY-ROBOT VOICE

SAM FORMANT

MAKES ANY INPUT SING

SP-1200

HIP-HOP CRUNCH

G.726 ADPCM

GRAINY TELEPHONE

RA144

WATERY EARLY INTERNET

RealAudio · early web radio

CVSD

SLEW · GROWL · BUZZ

OKI ADPCM

ARCADE CRUNCH

MU-LAW 8

GRITTY 8-BIT DRUMS

FAX T.4

PRINTED SOUND

CD PCM

CLEAN UNTIL DAMAGED

GSM FR

MOBILE PHONE

MP3-ERA

DIGITAL SMEAR

Napster · MP3-sharing era

VOIP

BROKEN CALLS

AUTO

PERIOD-CORRECT

CORRUPT

Choose the damage.

Pitch, gain, spectrum or timing.

BAND

Keep part of it clean.

Corrupt only the frequency band you choose.

SYNC

Break it on the beat.

Lock failures to your DAW tempo.

DROP

Cut the connection.

Trigger a dropout when the track needs it.

Available October 27, 2026

05 / THE INTERFACE

Hands on the hardware.

A modem front panel, with every failure within reach.

Telecom hardware interface with connection slider and physical controls
SWITCHES

BYPASS · DROP · HOLD LINE

DAMAGE

NOISE · BIT ERR · SNAP

MODULATION

BAUD · ROTATE · ORDER

CONNECTION & MIX

Pull the signal down. Blend the damage in.

STATUS LIGHTS

LINK · ERR · CRC · LOSS

01 SOURCE

Choose the source and frequency range to process.

02 TRANSMISSION

Choose a transmission path and set its speed.

03 MODEM

Set how the receiver reconnects and syncs to your track.

CH1 + CODEC

Watch the signal and choose a codec, or let AUTO match it.

04 LINE

Shape the interference with noise, echo, drift and jitter.

05 OUTPUT

Balance the output gain, tone and stereo width.

06WHAT YOU'LL MAKE WITH IT

Load a preset. Lose the signal.

DRUMS
Hard-hitting corrupted drumsAdd grit to a clean loop or give a fill a sharper, more aggressive edge.
1200 BAUD BREAKS · QAM STEPPER · 4-QAM GRIT · SP-1200 CRUNCH
VOCALS
Damaged digital vocalsTurn an ad-lib into a distant reply or contrast a clean lead with a damaged double.
2400 BAUD SPY · TELEPHONE GHOST · THERMAL PAPER VOX · SPEAK & SPELL
SYNTHS
Unstable synth texturesBring movement to a static pad or make a repeating lead phrase feel less predictable.
V.34 SHIMMER · 8-PSK WARBLE · ECHO DIVERGE · SAM SINGS YOUR SYNTH
BASS
Degraded bass, intact low endAdd texture to the upper harmonics while LOW KEEP preserves the sub.
PHONE LINE SUB · CVSD GROWL · LINNDRUM MU-LAW
TRANSITIONS
Failures as arrangementAutomate a breakdown into the drop, or freeze the last beat into a transition.
LOSING CARRIER · STORM ON THE LINE · BUFFERING... · STUCK CD
TELECOM — Data Degrader, Corruption Processor

Break the line. Keep what survives.

TELECOM$69
FORMATSVST3 · AU · STANDALONE
SYSTEMSMACOS · WINDOWS
ENGINES13 ENGINES · 14 CODECS
  • Lifetime updates
  • Factory presets
  • All 13 engines
  • Standalone app
AVAILABLE October 27, 2026 · GET NOTIFIED
07FAQ

Line check.

When will Telecom be available?+

Telecom launches on October 27, 2026. Click Buy and leave your email to receive a launch notification. No payment is taken.

Is this a bitcrusher?+

Telecom goes beyond traditional bitcrushing. It degrades your audio through codecs and simulated transmission paths, creating everything from digital grit to dropouts, retrains and broken connections.

Will it wreck my low end?+

Only if you want it to. LOW KEEP keeps the sub clean while the codec and line work on everything above it.

Does it repeat like an LFO?+

No. WEATHER drives the line impairments with a chaotic attractor (Lorenz / Rössler), so storms come and go instead of looping.

Can I use any codec with any engine?+

Yes. Each engine defaults to its historically matched codec on AUTO, and any of the 14 codecs can ride on any line.

Which formats and systems?+

VST3, AU and Standalone, on macOS and Windows.