ToneSlant
TL;DW: Mastering grade very low Q tilt EQ.
This is a new plugin, not a port from an existing Audio Unit. It’s based on a variation on the Average concept. Turns out, it’s the tail end of the ‘averaged samples block’ that causes the cancellation node. ToneSlant implements a much bigger sample block (100 taps) but linearly fades the samples off between the first and last sample in the block.
What that does, is produce an extremely transparent ’tilt EQ’ with a controllable corner point. And, it’s implemented in such a way that you can set it to null out (at extreme high boosts) and then bring in only the brightest highs (shown in the video). Quirky, maybe, but it broadens the ToneSlant toolkit. So, the main uses are:
-Extremely low Q treble rolloff above a set point (with a fixed dB/oct)
-That, plus you bring in the dry signal by not putting the Highs to an extreme (it’s like a positive/negative wet/dry/wet, but that doesn’t fit on the label, especially for VST)
-Total cancellation with Taps at 1 and Highs at +1, and then you put Taps to just barely greater than 1 and you can have a very natural high-shelf controllable with the Highs control
These come out of the algorithm: the reason it performs so well sonically is both the extremely low Q and the simplicity of the algorithm. Not everything I make belongs in a mastering studio, but ToneSlant is peculiarly suited to that use: it’s like those specialty EQs that have very few parts and impart no color to the sound. You should be careful applying ToneSlant, because it ‘hides’ and tries not to be apparent as EQ. Use it as such, when you need perhaps a strong ’tilt’ but don’t want the result to sound equalized.
It’s AU, Mac and PC VST and free: just another reason to keep me around through supporting my Patreon! If you look at the last decade or so of Airwindows, I think it’s fair to say I think of new plugins, and that will continue. It’s just that now, you support Airwindows because you want me to make more, not because I’m preventing you from having it. I don’t think there is a future in preventing people from having digital things. It seems impractical and sure to cause problems. Therefore, my future is ‘be worth keeping around’, so enjoy ToneSlant as a token of my good will :)
Hey Chris, nice plugin but whats with the ripple? I found I was able to achieve the same result with DDMF’s IIEQPRO, using a high shelf I got virtually the same phase response also I had a smoother filter curve.
Thanks for the freebie.
Hello, In Digital performer 9 no controls are showing up for the 64 vsts (Win10 x64) I also tested on Studio one there they work.. hope you could support DP also in the future :) thanks for the cool plug ins!
Flo, the trouble is I’ve got these built as the simplest, most functional VSTs you can have. There’s two ways for them to save settings, but the only way the plugins can render controls is if the host program draws them. If the host is busted I’m out of luck, on W10 or otherwise. I’m supporting DP as much as I can: let them know their program isn’t drawing controls when it should. There’s no difference between the VST32 and VST64 versions besides compile settings: it’s exactly the same plugin code.
Pisces: if you think that’s ripple, have a look at Average! ;) I care about tone more than ripple, and ToneSlant is an implementation of a particular EQ concept meant to optimize certain things. You can always use something else if you’re not into the natural filter profile this algorithm produces :)
Hi Chris,
Not at all, Ive heard a lot of good things about airwindows plugins, so im always looking at what you’re doing next. Im hoping you will port busscolors to windows vst sometime soon.
I’m just recently looking deep into filters, so i’m intrigued by the ripple. Was that intended or side effect? Perhaps you could tell me the benefits? I would usually go with smoother predictable filters. Thanks again.
Thanks Chris, i totally understand i will contact Motu and tell them. thanks big up!!
This is a nice one.. I also dig your use of PurestGain at around the 16:15 mark with bringing up the quite attenuated post-effect signal with resolution and fullness, even through the limited fidelity of YouTube’s audio encoding.
非常好的软件。
This is a nice one.. I also dig your use of PurestGain at around the 16:15 mark with bringing up the quite attenuated post-effect signal with resolution and fullness, even through the limited fidelity of YouTube’s audio encoding.
谢谢! :) (google translate)
Hi Chris! Are VSTs in any way better than AUs? This question distracts me from my mixing job :)
Some VST hosts can use a 64-bit floating point buss. Otherwise, not :)
Also, AUs (at least all my AUs that are not explicitly stereo) can run on quad and 5.1 channels, or as dual-mono on a stereo channel. That could be better if you have 5.1 surround mixes :)
Hello Flo, that must be a DP9 windows vst thing, all my Airwindows plugins work great in AU format on an Apple Mac…
Thank you, Chris. I’ve never ever seen anything like this, before. It has been needed in the past, for mastering. I’d like this thing to be turned into a dynamic EQ, because I’ve had to try to fix things like this, in full mixes, where that type of cut is only needed when a certain instrument or sample is played. Is there any possibility of you being interested in pulling that off? I am guessing that dynamic EQ’s are not your thing, since then there is more math and more processing that must happen. But, who knows. Keep up the good work and please live for at least another 20 years. The world needs you.
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