Multibeat Creative

Category: Article

  • KV331 Audio SynthMaster Uninstaller for macOS

    In the world of software synthesizer development, crafting an installer which works reliably is surely an ominous task. As important as a reliable installer is to the end user, an effective uninstaller is the necessary companion. Only the developer knows the full litany of installation/write locations which have proliferated over the course of an application’s history.

    KV331 Audio‘s flagship semi-modular software synthesizer, SynthMaster, came to fruition in SynthMaster 2, featuring many different synthesis methods and spectacular control routing options. It later evolved into the 16-layer SynthMaster 3, with a new modular architecture and too many fantastic advancements to list here. The ambitious claim is that the new synthesizer with its advanced framework can reproduce the patches of its predecessor in remarkable backward-compatibility.

    Between the releases of SynthMaster 2 and 3, a separate product was released, cheekily titled SynthMaster One. Easier to approach for the novice, sporting a simpler programming interface, the sounds were no less impressive.

    After extensive music composition and music production with SynthMaster, including many comparisons against competing synthesizer products, the author recommends these instruments most highly and continues to be an avid fan of KV331 Audio.

    Beginners can easily work with the avalanche of existing presets, whereas the most seasoned synthesizer veterans understand that SynthMaster is truly an infinite synthesizer construction kit. The DSP engine sounds deliciously organic and resulting instruments can typically cut through the mix without requiring EQ or other effects. Rarely do presets sounds harsh, but certainly can if that’s the intention. It is within this encouraging context that the need for a KV331 Audio Product Uninstaller is under discussion.

    It continues to seem to be best practice to install the packages in historical order if possible: SynthMaster 2, SynthMaster One, and finally SynthMaster 3. Those with an extensive SynthMaster 2 library may wish to continue to wait before investing money and conversion efforts into SynthMaster 3; the preset-translation will surely only improve with time.

    It seems doubtful that a paying customer would purposefully uninstall KV331 Audio’s synthesizers, but someone trying out the demo might be in a position to uninstall. Whatever the reason for a SynthMaster uninstall, and regardless of whether the platform is Windows or macOS, a thorough uninstaller should be made available with the software package. Sadly, this is not the case at the time of this writing.

    The reason for today’s uninstall was due to a glitched download/install on 2025/07/25, wherein the AAX plugin was not onboard, and most of the supporting sample library ended up missing as well, leading to ‘sample not found’ warnings. Apparently, this was due to an error in the uploaded distributable.

    With no uninstaller provided and little information online about a comprehensive list of file locations, I decided to post this information in case it helps people.

    Here is a list of installed KV331 Audio files under an installation on macOS Sonoma 14.7.6 as of 2025/08/11. These were the files that were found by simply manually moving through the directories, top-to-bottom. It’s possible some were missed. As the recent installation of SynthMaster 3 seemed to be incomplete, it’s possible that some directories did not get created as intended and thus this list would be incomplete as well. (The SM2 and SM3 installs were fraught, whereas SM One seemed entirely functional.)

    Note: there is no Standalone version to uninstall with macOS; there is only a Standalone version for Windows.

    Library/Application Support/Avid/Audio/Plug-Ins/SynthMaster2.aaxplugin
Library/Application Support/Avid/Audio/Plug-Ins/SynthMasterOne.aaxplugin
Library/Application Support/KV331 Audio

Library/Audio/Plug-Ins/Components/SynthMaster1.component
/Library/Audio/Plug-Ins/Components/SynthMaster1FX.component
/Library/Audio/Plug-Ins/Components/SynthMaster2.component
/Library/Audio/Plug-Ins/Components/SynthMaster2FX.component
/Library/Audio/Plug-Ins/VST/SynthMaster1.vst
/Library/Audio/Plug-Ins/VST/SynthMaster1FX.vst
/Library/Audio/Plug-Ins/VST/SynthMaster2.vst
/Library/Audio/Plug-Ins/VST/SynthMaster2FX.vst
/Library/Audio/Plug-Ins/VST3/SynthMaster1.vst3
/Library/Audio/Plug-Ins/VST3/SynthMaster2.vst3

/Users/~user/Documents/SynthMaster
/Users/~user/Documents/SynthMasterOne

/Users/~user/Downloads/SynthMaster

    The above Downloads folder may contain folders not deleted during the Expansion installations.

    /Users/~user/Library/Audio/Presets/KV331 Audio

    /Users/Shared/NI Resources/dist_database/kv331 audio

    For this particular NKS-related folder, it isn’t clear whether Native Instruments scans for existing NKS products, or whether KV331 Audio installed these for use by Native Instruments, but it’s likely the latter case. At risk of breaking NKS control of KV331 Audio products, it could be worth zipping off a backup of this folder, but it will likely be created by KV331 Audio on a subsequent re-install.

    /Users/Shared/Pro Tools/AAXPlugInCache/SynthMaster2.aaxplugin_Pro Tools.plugincache.txt
/Users/Shared/Pro Tools/AAXPlugInCache/SynthMaster2.aaxplugin.plugincache
/Users/Shared/Pro Tools/AAXPlugInCache/SynthMasterOne.aaxplugin_Pro Tools.plugincache.txt
/Users/Shared/Pro Tools/AAXPlugInCache/SynthMasterOne.aaxplugin.plugincache

/Users/Shared/SynthMaster
/Users/Shared/SynthMasterOne

/Users/Shared/SynthMasterTemp293

    This Temp folder number may be a version number, and so may appear differently on another system.

    Those were all the found files and folders which seemed to be installed by the KV331 Audio installers.

    When archiving Presets and Favourites, here are some notes on both of these directories:

    /Users/~user/Documents/SynthMaster
/Users/~user/Documents/SynthMasterOne
    • The folder Presets/ contains User Presets.
    • Folders within Presets/ folder become Preset Banks.
    • FavouritePresets.txt is the linefeed-delimited list of starred presets. All of your hard work putting stars on presets promises to be reclaimed by salvaging this file.

    Note that in these folders:

    /Users/Shared/SynthMaster
/Users/Shared/SynthMasterOne
    • The NKS Presets exists.
    • If the Online Library was downloaded, it will exist here.
    • The CloudSync folder exists.
    • The Downloads folder may contain folders not deleted during the installation of the SynthMaster Expansions.

    An additional reminder that if you have your own system to archive and/or quarantine incoming installers, you may wish to clean up those areas as well, and write up the reason for installation/uninstallation – for the benefit of your future self. Storing off distributables in yymmdd/version folders could be extremely helpful if you circle back around to SynthMaster.

    In the hopes that this list may help KV331 Audio in their creation of an uninstaller for the SynthMaster family, perhaps it will help fellow users as well. In the meantime, as you wait for a SynthMaster Uninstaller, any additional information you may wish to contribute to this document is very welcome. Please feel free to contact the author.

    All trademarks remain the property of the intellectual property holders. All liability rules apply: please follow information on this page at your own risk; backup all volumes before significant alterations to your system.

    Wishing you many years of SynthMaster joy!

    🎹 🎛️ 🔊

  • Specifications – Exporting Audio Elements For Music Mix/Master Projects

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    MULTIBEAT CREATIVE

    TECHNICAL SPECIFICATIONS
    EXPORTING AUDIO ELEMENTS FOR MUSIC MIX/MASTER PROJECTS
    UPDATED 2017/02/19

    1. RAW RECORD SESSION INDIVIDUAL TRACKS
    2. PROCESSED INDIVIDUAL TRACKS
    3. PROCESSED 0VU STEMS – EXPANDED
    4. PROCESSED 0VU STEMS – MINIMAL
    5. FINAL MIX WITH NO MASTER BUSS FX (QUIET/UNMASTERED)
    6. FINAL MIX WITH MASTER BUSS FX (LOUD/MASTERED)

    ========================================
    =
    =  NOTES FOR ALL FORMATS!

    === FILE FORMAT ===
    Provide incoming audio file specs: SAMPLE RATE, QUANTIZATION (44.1kHz/24bit suggested minimum) and FILE FORMAT (PCM-based .wav, .bwf or .aif preferred).  Compressed formats such as .mp3 are frame-based, resulting in wandering timing and cannot be accepted.

    === CONTENT NOTES ===
    Provide SESSION NOTES on each song TEMPO, KEY, and LYRICS if possible.  Advise if a TEMPO MAP is a feature.  Mix session tempo is vital for bar-based editing.

    === COMMON START POINT – VITAL ===
    *** When recording or bouncing tracks, execute from a COMMON START POINT.  Use a dedicated workflow to guarantee a sample-accurate common start point.  Be careful not to clip the head in choosing a common start point.  (Choosing a “round bar” common start point such as 1|1|0 or 17|1|0 can be helpful for editing/mixing to the bars+beats grid.)

    === COMMON END POINT OPTIONAL ===
    Common end point is fine if convenient for workflow, but not required.  Better file size economy to record only until the end of the program material.

    === MASTER CHAIN OFF ===
    *** (Except in the case of #6 above) ==ALWAYS TURN OFF== all master buss plugins, dither, and automation.  Set the master fader level to 0VU.  This allows clean unadulterated 0VU printing of stems to the original mix reference – a snapshot of the tracks “in situ”.  MASTER CHAIN OFF IS VITAL:  a dynamics processor left active on the master buss will completely change the level relationship among the elements that we are striving to preserve.

    === DON’T CONVERT ON EXPORT ===
    *** Export files at the ORIGINAL SAMPLE RATE / QUANTIZATION.  Do not “downconvert” 48kHz/24bit to 44.1kHz/16bit accidentally or intentionally.  CHECK ALL EXPORT SESSION SETTINGS.  Don’t “upconvert” eg. 48kHz/24bit to 96kHz/24bit for delivery.  We will do any conversions necessary.

    === CONCERNING MONO TRACKS ===
    Exporting mono-as-mono and stereo-as-stereo can create level-reference question marks.  To preserve level relationships, it is best to export all elements as STEREO.

    === ORGANIZED NAMING ===
    Exported elements ideally follow an organized naming plan.  Preferred is:
    “short_song_code-element#-element_name-details”  for example:

    satu-02-snr-dry.L.wav
    satu-02-snr-dry.R.wav
    satu-03-snr-fx.L.wav
    satu-03-snr-fx.R.wav

    or

    lady doll 01 drums – kick.wav
    lady doll 02 drums – snare.wav
    lady doll 03 drums – loop.wav

    stems can look like:

    satu-4-gtrs.L.wav
    satu-4-gtrs.R.wav

    === FINAL MIX REFERENCE ===
    *** A STEREO REFERENCE MIX of the final mix should be provided in most cases.

    === GOAL REFERENCES ===
    The client may wish to provide “goal” references (.wav, .mp3, youtube links, etc) of songs with mixes/mastering curves that appeal, as a gateway to creative discussion.

    === DAW SESSIONS ===
    DAW sessions in Pro Tools, Logic Pro may be provided.  OMF/AAF exports are VERY helpful.

    === ZIP ALL FOLDERS – VITAL! ===

    **** ZIP ALL FOLDERS FOR TRANSFER.  THIS IS ABSOLUTELY ESSENTIAL. ****
    .zip compression is the only way to verify file integrity on PCM audio files.  .zip compression can cut file sizes and transfer times in half.  Multibeat offers an FTP server for private, secure file transfer.

    ========================================
    1. RAW RECORD SESSION INDIVIDUAL TRACKS

    After the recording session is complete, the DAW session including the raw files is delivered.  If we don’t have the same DAW as the record session, an OMF/AAF archive can be exported to preserve the shape of the session, clip gain, etc.  If OMF/AAF is not an option, raw tracks can be re-recorded, exported or bounced at a common start point.

    See “NOTES ON ALL FORMATS” above for details.

    It is vital in this case that all plugins, dither and automation on ALL TRACKS including the MASTER BUSS are *DISABLED*; all faders including master fader set to 0VU default.

    If recording multiple takes across playlists and a DAW session is not provided, the playlists must be recorded out to individual tracks as well.

    As an alternative, it can be time-efficient to DSP-duplicate tracks in the timeline to re-create a set of clean raw record tracks; this saves worrying about the audio chain as well.

    The goal of providing raw record tracks is to create a mixable 1:1 snapshot of the raw recording session, cleaned and prepared for the mixer.

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    2. PROCESSED INDIVIDUAL TRACKS

    In cases where a mix is underway and passes from Mixer A to Mixer B, processed individual tracks are exported.  These processed tracks may include:  editing of the raw record tracks, waveform editing, clip gain, volume automation, insert plugins, aux sends to buss-fx, plug-in automation, etc.  In other words, the goal of providing processed individual tracks is to preserve the totality of each track’s evolved contribution in the final mix.

    See “NOTES ON ALL FORMATS” above for details.

    EFFECTS PLUGINS ON:  All track insert plugins (EQ, Comp, Phase-o-matic 6000, etc) should be left active.

    VOLUME AUTOMATION:  Printing audio with significantly complex volume automation means it will be “baked in”; decide if best to bake-in the automation for Mixer B, or disable it so that Mixer B has more flexibility.  If delivering a Pro Tools session, it is also possible to apply Mixer A track volume automation to the re-recorded parts for Mixer B.

    BUSS-FX DECISIONS:  Buss-FX are common sends to reverb, delay, etc. If possible, it is best for flexibility to record out the dry part (dry meaning processed with insert plugins but not reverb etc) separately and the bussfx *wet-only* separately.  eg:

    satu-02-snr-dry.L.wav
    satu-02-snr-dry.R.wav
    satu-03-snr-fx.L.wav
    satu-03-snr-fx.R.wav

    (A suggested way to do this is to send the tracks themselves to a dry-record buss, and send the buss-fx-sum submix to a wet-record buss.)

    On enormous sessions this may drive the track count too high.  Exporting parts with buss-fx applied is certainly possible; keep in mind the “tying of the hands” of Mixer B.

    MASTER BUSS FX *DISABLED*:  The relationship between all tracks must be preserved therefore it is vital that all plugins, dither and automation on the MASTER BUSS are *DISABLED*; the master fader set to 0VU default.  This will guarantee clean and level-appropriate export of the processed parts.

    The delivery of processed individual tracks is a zipped folder of common start time stereo audio files (any of: dry, wet, dry+wet), which when dropped onto the timeline of a DAW with all faders at 0VU, presents the sound of the “unmastered” mix.

    It provides total mix flexibility for Mixer B and/or the mastering engineer, and is a perfect snapshot of Mixer A’s efforts up to that point.

    ========================================
    3. PROCESSED 0VU STEMS – EXPANDED

    Stems are SUBMIXED GROUPS of the song elements, components comprising the final unmastered mix.  Groups such as drums, basses, guitars, keys, backup vocals, vocals are submixed with all of their plugins, automation and even submix buss automation intact.

    Stems can be used for creating instumentals or a cappella versions, creating extended versions or delivery for creative remix.

    Delivery of processed 0VU stems is a zipped folder of common start time stereo audio files, which when dropped onto the timeline of a DAW with all faders at 0VU presents an exact snapshot of the sounds of the “unmastered” mix.

    EVERYTHING ON, EXCEPT MASTER BUSS *DISABLED*:  The groups are captured just before the master buss, so all the plugins, dither, volume automation, etc, everything that makes the mix sing is turned ON.  However, the relationship between all tracks must be preserved therefore it is vital that all plugins, dither and automation ON THE MASTER BUSS ARE *DISABLED*; the master fader set to 0VU default.  This will guarantee clean and level-appropriate export of the processed parts through the master buss.

    The choice of which stems are created depends on the particular application or reason for stem-creation.  At the most complex, where every track is archived, see “2. PROCESSED INDIVIDUAL TRACKS” above.  At the most minimal, see “4. PROCESSED 0VU STEMS – MINIMAL” below.  Whereas fine-grained stems allow for good archiving and mix-access, they take more time to generate.  Best to only generate what is needed.

    Generally-accepted stemming on pop/rock is normally: drums, basses, guitars, keys, backup vocals, vocals.  Additional groups such as strings, brass, choir are also common.

    satu-1-drums
    satu-2-bass
    satu-3-keys
    satu-4-gtrs
    satu-5-vox-lead

    *** Multibeat preferred stemming is:  kicks, snares, hihats, rest-of-drums, percussion, basses, functional guitars, feature guitars, functional keys, feature keys + sfx, backup vocals, flank/unison vocals, lead vocal.

    On mastering projects, such stems are very helpful – even when they sit at 0VU and are completely untouched, they go through our analog summing channels (yummy!) and mastering nudges at the part-level, if necessary, are easy to access.

    Please contact in all cases about appropriate stemming.

    ========================================
    4. PROCESSED 0VU STEMS – MINIMAL

    See “NOTES ON ALL FORMATS” above for details.
    Also see “3. PROCESSED 0VU STEMS – EXPANDED” above.

    The very most minimal stemming is:  1. instrumental, 2. all vocals.

    The next most minimal stemming is:  1. drums, 2. the-rest, 3. all vocals.

    Native Instruments has a Stems format which offers the big four:  drums, bass, all-the-rest, vocals.  Or often:  drums, bass, synths, fx  *** Please note that NI Stems format is DJ/dancefloor ready format where EACH STEM IS MASTERED.  HERE, THE CLIENT IS PROVIDING STEMS FOR MASTERING AS UNMASTERED/NO MASTER BUSS FX STEMS.  The stems culminate in an “umastered” mix.

    *** For mastering projects where Multibeat requests stems, this is for an added layer of contingency/control.  It can be good to access the drums without ruining the vocals for instance.  All stems are locked to 0VU, no plugins, analog summing only (and only sometimes), with only a few nudges against mastering issues.

    Please contact in all cases about appropriate stemming.

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    5. FINAL MIX WITH NO MASTER BUSS FX (QUIET/UNMASTERED)

    See “NOTES ON ALL FORMATS” above for details.
    See “3. PROCESSED 0VU STEMS – EXPANDED” above for notes on stems-for-mastering.

    This is the common export situation for a regular mastering job.  Whereas stemming can help for a perfect master, traditionally the final mix out of the ‘board’ with no mastering EQ, compression, limiters is provided as the mixer’s presentation.  We prefer to secure mix perfection through having access to untouched 0VU stems.

    It is vital that all plugins, dither and automation on the MASTER BUSS are *DISABLED*; the master fader set to 0VU default.  This will guarantee clean and level-appropriate export of the unmastered final mix.  Do not sample-rate/quantize convert; deliver files at your working specs.

    The mixer may send a “loud” or “mastering chain ON” mix as well to demonstrate final mastering suggestions.  This is a better plan than including partial, or low-level, mastering enhancements in the unmastered delivery.  eg. compressing the unmastered 2-mix.

    The goal of providing an unmastered final mix to mastering allows the mastering engineer to create a technically precise and controlled master recording that sounds as-similar-as-possible and acoustically-pleasing on every system.

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    6. FINAL MIX WITH MASTER BUSS FX (LOUD/MASTERED)

    See “NOTES ON ALL FORMATS” above for details.

    In some cases, mastering has to be done on a previously-mastered recording.  This can be due to archival reasons, upgrading, redoing, or simply to make a compliation consistent.

    This is the least-flexible type of mastering job for a mastering engineer.  Remastering from an unmastered original is preferred if possible.

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