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Chris

Hi! I've got a new plugin you can have! These plugins come in Mac AU, and Mac, Windows and Linux VST. They are state of the art sound, have no DRM, and have totally minimal generic interface so you focus on your sounds.

DigitalBlack2

DigitalBlack2 is meant to be the ultimate gate for djent or anything staccato.

It can be set up to be ridiculously fast and articulate, with separately settable attack and release thresholds. The reason you can have an ‘on’ threshold lower than the ‘off’ (or ‘gate’) point is, it runs internal timing like DigitalBlack anyway, so you can tell it to open with the on threshold and then it’ll immediately try to close.

While it’s running through its internal timing (which is sensitive to the frequencies passing through it, like DigitalBlack) it passes pure sound without shut-off artifacts. It will not sputter, and it’ll switch off more aggressively if it can (if it’s had mainly highs passing through).

It has to run through to either silence, or go above the off threshold, to stay open: the on threshold is like the ‘hair trigger’ to catch subtleties of attack, while the off threshold is the real gate threshold. Finally, the gate speed is adjustable on DigitalBlack2, on top of the frequency sensitivity: you scale the whole response up or down even though it’s already adaptive to the signal’s wavelengths.

It’s free.

DigitalBlack2 might not be the simplest gate to set, but I think it’s the most high-performance musical noise gate in existence if you can master it. There are more ‘hi-fi’ noise gates for mastering and mixing, but this one is for making things staccato in completely controllable fashion, and delivering sounds with unparalleled aggression. If it does that for you and you know others with similar needs, tell them. Because the thing is, if more people use a gate this good and this sensitive to human performance, it becomes all about your touch and muting. Why not show that off on equal footing?

BussColors3

BussColors3Demo has eight models: Dark, Rock, Lush, Vibe, Holo, Punch, Steel and Tube. These originally came from sets of impulse responses by a guy at Noisevault, with his permission and blessing—over the years I’ve doctored the impulses until it’s algorithms building new impulses for every sample, on the fly. Because it runs on impulses, BussColors3 is intended to run at 44.1K (it will still run at any sample rate, but the sound will be different)

All of these come pre-calibrated to work as drop-in replacements for ConsoleChannel, if you run Console on your mix buss. That means not only can you have expanded soundstage depth, you can also have tone color much like the big-name ‘digital simulation’ companies—or better.

BUT.

The way the industry cannibalizes and trades on the reputations of classic hardware designers has started to piss me off, so I’m no longer providing the reference to what ‘brand’ these sounds refer to. If you gotta pirate illicit bit data, let it be the secret identities of what these sounds were. If you’re really good I see no reason why you wouldn’t just recognize them from the sound or description alone, that’s the important thing, right?

Dark acts like an old medium-format console, with unusual midrange articulation and a really solid sound when pushed. It’s a classic 70s sound.

Rock acts like that ‘post-70s hit record sound’. It’s a very big automated console with a particular gloss and sheen to it. Rock can be dialed in for maximum slam short of obvious breakup, using the input trim control.

Lush acts like a big lush large-format console, emphasis on big. It’s an alternate 70s hit record sound, more in the softrock vein- pillowy and fat, with airy highs and large in scale.

Vibe acts like some sort of funky old console, with a liquid organic sound but not as big-budget as Lush or Dark. Could bring an old dub platter sound to a track.

Holo brings a particular sort of three-dimensionality to the sound, and conveys a distinct soundstage where locations of sound sources take on a special holographic quality. Particularly if you run it with extra headroom it might suit classical work.

Punch is another classic rock console, with a gutsy rocking quality that’s loaded with punch and impact. Very recognizable if you have these pres.

Steel is a special effect console—it’s sort of lean and brings a distinct acidic, metallic quality to the sound. It could really accentuate the personality of some electronic/DnB/dubstep work. It cleans up lowmid mud and sounds aggressive, not mellow.

Tube finishes up the set, bringing an airy, electric quality like some of the oldest recording consoles out there. Only low-voltage starved-plate fake-tube designs are dull and rolled-off: real tubes bring a lot of energy and presence to a sound, and this one’s not shy with the highs. You can also use Tube in stereo to convert a ‘digital EQ’ into a much flashier emulated analog EQ. Put BussColors Tube first, then the EQ, then ConsoleBuss. You’ll get the hotrod fancy EQ sound and behavior, it’s ‘expanding’ the ordinary digital EQ calculations like they were a mix buss. It may change the calibrations…

BussColors3 is $50.

Console2

Console2Demo is the very latest in DAW large format analog console emulation- without the ‘tone color’ part, which is already being handled by Desk and BussColors. Does the idea of a ‘very latest’ without tone coloring surprise you? Console2 surprised me. Here’s the backstory.

I’ve been working in this area for some time, and one thing people always ask for is analog crosstalk. Sometimes the conversations got extremely technical and heavy, with trained electrical engineers trying to convince me of the significance of varying buss input impedances, which wouldn’t be a huge deal in a well-designed console so far as I know…

Following one such thought experiment out, I figured out that if this was happening, a channel would distort easier if it was looking into a buss that was out of phase with it, because other channels would present negative impedances and pull some of the energy that would’ve gone to the output. In normal DAWs (and normal DAWs are working DAWs- doing crazy things to their software is a recipe for trouble) you can’t have the channels talking to each other like that, plus it could produce extraordinary CPU demands.

But what if there was a way to make a channel come across more distorted if it was feeding an out of phase buss, and less distorted if everything was in phase? The experiment was this: pre-distort all the channels in a calibrated way (like traditional tape noise reduction systems), sum everything, and then undistort it- apply negative distortion.

Negative distortion? Sounds crazy, but Airwindows has had it for years- take the original Density plugin, and set it to negative settings. Presto, un-saturation, inverse distortion. It sounds terrible—all by itself—but it does have a way of pushing stuff like ambience into the far distance.

When you pre-distort everything, and then apply the calibrated un-distortion on the buss (that would sound bad by itself), what happens is that everything in phase sums and gets expanded back again and sounds just the same. (actually, there’s a bit of peak compressing but it doesn’t sound bad—mostly it sounds just the same). Anything that is going more out of phase with the buss it actually doesn’t see, will end up not as far along the waveform as it thinks it is, and will get less of the un-distortion, so it’ll have more distortion left over, just as if it was able to consult neighboring tracks and apply its distortion relative to what the buss input impedance was.

Sonically, what you get is, the actual sounds don’t seem particularly altered, but the space between the sounds gets hammered with the full ‘undistort’ treatment, which if you remember, has a trick of sounding very distant and thin all by itself. But we’re not talking about the sounds anymore- they’re pre-compensated- we’re talking about the sound of the buss itself at this point.

That can best be summed up as ‘wildly 3D, huge, articulate, spacious’… frankly, it shocked the hell out of me the first time I heard it, not to mention when I started A/Bing it against raw DAW summing. The pure math DAW summing was ridiculously flat by comparison. Even Desk (my previous best solution) was ridiculously flat, though a much better texture. Turned out that nothing I’d previously done had addressed this problem at all, and suddenly I’d targeted it exactly.

You have to use the Console2 plugins in sequence, like they were analog noise reduction or something. Console2Channel goes at the end of all channels feeding the 2-buss, and Console2Buss goes first on the buss, before anything else- with ONE exception, you can use the default setting of BussColors3 in front of it (or Desk3, or a third party buss tone coloration plugin, if you like) because this type of processing won’t throw off the calibration (it’s too subtle) and it is improved by the expansion of space within it. But anything like compressors, tape effects, should only happen after Console2Buss, when the sounds are back to their intended forms. And if you are using BussColors3 to ‘slam the buss’ by turning up input gain, you should put it after Console2Buss, not before.

If you’d like this, buy the most recent Console and ask me for the older version in email. I’ll send it to you :)

Iron Oxide 3

IronOxide3Demo added tape flutter to Iron Oxide, and tuned the antialiasing. This is much like ToTape: the basic concept of the plugin doesn’t change that much, though 3 added flutter and 4 added an inv/dry/wet mix control. These are the tape effects, not there to be radically reinvented each year.

If you like this one best, buy the current version and ask for this in email. I’ll send it.

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If you’re pledging the equivalent of three or more plugins per year, I’ll happily link you on the sidebar, including a link to your music or project! Message me to ask.